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CHINESE PORCELAINS 


Loaned 24 


A. BURLINGAME JOHNSON 


On Exhibition in the 


LOS ANGELES MUSEUM 
OF 
HISTORY, SCIENCE and ART 


PUBLISHED BY THE 


LOS ANGELES MUSEUM OF HISTORY. SCIENCE AND AKT 
MISCELLANEOUS PUBLICATION No. 3 


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LETTER OF TRANSMITTAL 


It is a great source of satisfaction to present for publication 
the following illustrated Hand-Book of the collection of Chinese 
Porcelains loaned to the Museum for exhibition by the Honorable 
A. Burlingame-Johnson. 


The collection numbering 375 pieces has been exhibited in the 
Museum a number of years and has been a source of great interest 
to students and to the general public. It is therefore our belief 
that the present Hand-Book will be greatly appreciated by Museum 
visitors and those who wish to familiarize themselves with Chinese 
Porcelains through the study of notable examples of the art con- 
tained in this collection, which is one of the very few extensive 
collections on exhibition in American Museums. 


This Hand-Book, designated as Los Angeles Museum Mis- 
cellaneous Publication Number 3, has been prepared by Mr. John- 
son personally and has the added value of having been written 
by the collector and owner of the subject matter. It is intended 
to serve as a brief introduction to the subject of which it treats and 
as an illustrated catalogue of the collection. 


_ Respectfully submitted, 
WILLIAM ALANSON BRYAN, 


Director. 


Peer AC 


No effort has been made in this catalogue to give an exhaustive 
chronological history of the development of the art of producing 
Chinese porcelains. Chinese literature contains many volumes on 
the subject, extending over a period of five hundred years. Innu- 
merable connoisseurs, sinologues and admirers of the lost art have 
written volumes on the subject, so that those making exhaustive 
research will find in the libraries of the country sufficient data to 
meet their most extravagant desires. In preparing a catalogue of 
his ancient Chinese porcelains for the Los Angeles Museum of His- 
tory, Science and Art, the author thought that a brief reference 
to the literature and history of this branch of Chinese ceramic art 
would give the reader a succinct and convenient epitome of the 
subject and would add to the usefulness of and interest in this 
collection. 


There are many old Chinese porcelains in private homes in 
this country concerning which the fortunate possessors know very 
little. Sometimes they are in doubt as to the period of production, 
or have false information concerning its age. The breaking up of the 
Morgan Collection in the Metropolitan Museum, New York, a few 
years ago and the fabulous prices those pieces brought served to 
create a general interest among holders of old pieces. It also cre- 
ated a new demand for concise and helpful information which would 
enable one to identify old Chinese porcelains. Those who have 
access to the exhaustive and technical volumes often become dis- 
couraged because of a lack of opportunity to compare the terms 
used with the object described. Since the withdrawal of the Hippis- 
ley Collection from the Smithsonian Institution and its shipment to 
London, and the sale of the Morgan Collection which was reported 
to have brought over three million dollars, there are few general 
collections on exhibit in America and probably none of greater 
extent than this one in the Los Angeles Museum. Thus it is that 
the student of this most interesting branch of ceramic art is handi- 
capped, however exhaustive the literature at hand. He cannot 
always distinguish the periods to which a piece belongs, or the 
genuine from the imitations. It takes time and opportunity to 
familiarize the eye with distinctions. 


Dr. S. W. Bushell, admitted to be the best authority on Chinese 
porcelains and a sinologue of renown, has done more to clarify the 
Chinese literature on ancient porcelains than any writer. Having 


spent a quarter of a century in China, being an attache of the British 
Legation, during which time he devoted his best thoughts to the 
disclosing and translation of Chinese records covering porcelains, 
he was responsible for revising the classification of existing speci- 
mens. In fact, the many authorities whose works were published 
prior to 1895, it is now well known, were in error in locating the 
periods of productions of entire groups of early specimens. 


For instance, the earlier writers on Chinese porcelains attrib- 
uted to the Ming Dynasty (1368-1643) the finest of the blue and 
white, the Sang de boeuf, the ruby reds, as well as the best of the 
five color, or polychrome productions, which make up the prize 
pieces in the best collections. The origin of these rare old pieces 
was placed prior to the invasion of the Tartar hordes which over- 
ran China proper and put an end to the Ming Dynasty, as well as 
destroyed the porcelain industry and burned the factories at King- 
te-chen. Dr. Bushell discovered Chinese records and painted repro- 
ductions in colors which proved conclusively that the finest of the 
cherished Ming pieces were made during the reign of the second 
Emperor of the succeeding, or Ching Dynasty (Kang-he, 1661-1722). 
He also demonstrated that while the Ming pieces possess a charm all 
their own, they were really less refined in artistic design, as well as 
in technique, when compared with the Kang-he productions. The 
finest of the Ming productions, being from one to two centuries 
older than that of the Kang-he ware, carried their own evidence 
in appearance which bear testimony to their greater age. 


With the hope that the brief history of Chinese porcelains 
given in this illustrated catalogue will be of some service to lovers 
of the ancient art and will add to the usefulness of the Author's 
Collection, he offers to the public this little volume. 


Pasadena, 1923. —A. B. J. 


INTRODUCTION AND EARLY HISTORY 


At the request of Los Angeles Museum of History, Science and 
Art, I have undertaken to prepare a catalog of my collection of 
Chinese porcelains now on exhibition in the Museum. This collec- 
tion of old Chinese ceramics was made by me some twenty-five years 
ago, during an official sojourn in China of many years. 


This was prior to and during the Spanish-American War and the 
Boxer uprising, two events which completely changed conditions 
in China, and robbed it of its mythical existence. The influx of 
foreigners taught the wily traders to prey upon the reckless dis- 
regard of values which especially characterized the thousands of 
American tourists and the soldiers from Manila who invaded the 
open ports. Prior to those events it was less difficult to find beau- 
tiful specimens of old porcelains than it is today, but it has never 
been an easy matter since Europe first compelled China to open 
certain ports to foreign trade. The two principal reasons for this 
difficulty were, first, because of the scarcity of the articles that had 
survived the one to five centuries since they were made and, 
second, because the Chinese were loath to dispose of works of art — 
of their revered ancestors, as to do so for a pecuniary gain awakened 
in their innermost souls a dread of utter misfortune as a punishment 
from the gods. 


While there were large quantities of the old plain and simply 
decorated pieces, or of the heavy celedons to be found when trade 
was opened with China more than two centuries ago, even then 
fine specimens from the Ming Dynasty (1368-1643) and from the 
Kang-he period (1661-1722) -were scarce and difficult to obtain. 
It was only in a limited number of factories that really artistic 
pieces were produced. Many of the best artists were drafted into 
the service of the Imperial factories, but whether private or official 
the fine points of the mixture of glazes, and colors, were guarded as 
secrets by the clans, To make, paint and fire a pair of ordinarily 
fine five-color vases about eighteen inches high took from three to 
four months. As artists have always been scarce in all countries, 
the production of such pieces was limited. They were never plenti- 
ful in China. According to Chinese records, they sold at higher 
prices in China three hundred years ago than were paid for them 
by foreigners during the latter half of the last century. Even broken 
pieces of the fine ruby reds and the turquoise blue were preserved, 
mounted and prized as personal adornments, as we today mount 
and wear precious stones. 

Glazes were used in the manufacture of pottery in China as early 
as the Han Dynasty (B. C. 206 to A. D. 222). During this period 
the green glazes, afterwards so popular, first appeared. The art 
was apparently lost for centuries, then reappeared in the sixth cen- 
tury. This second appearance of glazes seems to have been intro- 
duced from India which no doubt had borrowed the art from China 


i 


centuries before. New methods of compounding colors were also 
introduced. 

Not all glazed pottery is porcelain. A glazed pottery was made 
in Italy as early as A. D. 1300, known as Majolica ware, and faience. 
The manufacture of Majolica reached its highest perfection in the 
loth century. The enameled surface was highly decorated and 
highly prized by lovers of the Ceramic art. But it was not por- 
celain. 


DEFINITION AND COMPOSITION OF PORCELAIN 


Porcelain has been defined by Dr. S. W. Bushell, C. M. G., 
probably the greatest authority on the subject, as a “white hard 
pottery which has been vitrified and made translucent by firing.” 
The Chinese in their definition give as a test of porcelain as distin- 
guished from pottery the fact that it will give out a clear musical 
note when struck and the fact that it cannot be scratched with steel. 


Porcelain is formed of two principal ingredients, one called 
pe-tun-tse, a mixture of feldspar and quartz. The other material 
is kao-lin, named for the mountain, Kao-lin, near King-te-chen. 
It is distinguished from other ceramic products by its whiteness, 
translucency and vitrification. The feldspar tends to give trans- 
parency, but alone would not stand up in the kiln. The kao-lin, 
or clay, which is infusible, gives plasticity and strength. When 
mixed in equal parts the finest quality of porcelain is produced. 
As the proportion of the pe-tun-tse over kao-lin increases the quality 
of the porcelain is lowered. 


HEARSAY EVIDENCE VERSUS Titi 


Mr. Hippisley, a Commissioner of the Imperial Maritime Cus- 
toms Service of China, and a recognized authority on Chinese por- 
celain, in his treatise on the subject, written in 1901, gives the 
following insight into the difficulties encountered when seeking 
definite data from Chinese records: 


‘For such information as we possess regarding the history of 
the ceramic art in China, we have till recently been chiefly indebted 
to the labors of the famous French sinologue, M. Stanislas Julien, 
who, under the title of L’Histoire et la Fabrication de la Porcelaine. 
Chinoise, translated, and published in 1856, the History of the 
Manufactory of King-te-chen (a small town in Kiangsi province, 
but for centuries the most important seat of the Chinese Porcelain 
industry), a work written by a local magistrate in 1815 from older 
documents, and to the valuable letters from the same town written 
in 1712 and 1722 by the Jesuite missionary Pere dEntrecolles, the 
priest in charge there, which have been published in the collection 
of Lettres edifiantes et curieuses. Within the past three years, 
however, very valuable additional light has been shed upon this 
subject by the labors of two gentlemen who are at once collectors 


8 


and Chinese scholars, S. W. Bushell, M. D., physician to H. B. 
M. legation, Pekin, and F. Hirth, Ph. D., a member of the imperial 
maritime customs service of China. Doctor Bushell has been for- 
tunate enough to secure from among the dispersed library of the 
Prince of I the manuscript of a descriptive catalogue (of which 
native experts see no reason to doubt the authenticity), with illus- 
trations painted in water color, of eighty-two celebrated specimens 
of old porcelain seen in the collections of noted connoisseurs or 
possessed by the author himself, one Hsiang Yuan-p'ien (styled 
Tzu-ching) a native of Tsui-li, an ancient name of Chia-ho, now 
Chiahsing-fu, in Chehkiang province, who was a celebrated collector 
of all kinds of antiquities during the latter half of the sixteenth cen- 
tury. A translation of this work, with explanatory details by Doc- 
tor Bushell, has been published in the journal of the Pekin Oriental 
Society, under the title of Chinese Porcelain, before the Present 
Dynasty, and it is, I believe, to be shortly republished in an ampli- 
fied form with reproductions of the original drawings. Should this 
be done, the work would, in my opinion, form by far the most im- 
portant and valuable contribution to our knowledge of this interest- 
ing subject. The information regarding Chinese porcelain which 
has been bequeathed to us by native authors is to be found in their 
encyclopedias or in special treatises chiefly based upon the encyclo- 
pedias. These are, however, compilations of such vast extent that 
the authors had not, nor could be expected to have, the intimate 
knowledge of an expert upon all of the very many subjects treated 
in them. Hearsay evidence or unverified rumors have thus but too 
often been allowed to crystallize into permanent record, with the 
result that it is impossible after an interval of centuries to attempt 
to reconcile the many contradictions of statements contained in the 
different records. In this catalogue, however (Dr. Bushell’s), are 
contained the reproductions in color of eighty-two specimens of 
the choicest productions of a period extending over upward of five 
centuries, from A. D. 960 to 1521, either possessed or seen by the 
artist, and scattered notes from the pen of one of the most noted 
connoisseurs of his age regarding the respective merits and rarity 
of the various kinds of ware. Existing realities are presented to us 
in place of the vague generalities and contradictory essays of the 
encyclopedias, and there can, I apprehend, be little doubt as to the 
comparative value of the two varieties of evidence.’’ 


It is not possible, as will appear from the foregoing, to give 
specific dates in writing of the origin of porcelain in China. Its 
early history is wrapped in mystery. More recent annals are woe- 
fully lacking in the very details which would enable us to determine 
the character of the wares referred to by the terms used. 


The Chinese word Yao, which usually means pottery, was also 
used by early writers when the article referred to was really por- 
celain and which later was distinguished by the word tza. Julien 
in his celebrated work on the history and manufacture of Chinese 


9 


porcelain places the invention of porcelain as far back as the Han 
dynasty, 206 B. C. to A. D. 220, and quotes from the records of the 
district in which the famous old King-te-chen factories are situated 
to prove his contention. 

Dr. Hirth, a well-known Chinese scholar, whose opinion on 
any kindred topic is of the highest value, doubts the accuracy of 
Julien’s dates and concludes that it was pottery and not porcelain 
referred to in the record quoted. Since there are no known speci- 
mens of porcelain made during the Han dynasty, and the literary 
record not being conclusive owing to the doubtfulness of the terms 
used, it is safe to conclude with Hirth that none existed at so early 
a date. Hirth places the date of the invention of porcelain during 
the latter part of the sixth century and shows by quotations from 
writers at that time that fine porcelain was first made in large quan- 
tities about the beginning of the Seventh century. 

It is probable that there are no specimens of ancient Chinese 
porcelains now available which antedate the Sung dynasty—A. D. 
960 to 1280. Of these only the heavy celedons remain. Owing 
to the extreme hardness and thickness of these old “Sung Celedons”’ 
they were enabled to withstand the usage of centuries and specimens 
may yet be secured. They are usually of some shade of green, 
but black, brown and white also are preserved. The term celedon 
is now applied to a certain kind of porcelain in which the color is 
mixed with the glaze and then applied to the paste before firing. 
In the older specimens, the exposed paste is usually brown, or if 
white when broken the exposed unglazed parts, like the base, have 
turned brown in the firing. This is regarded as proof of the age of 
the piece, as no specimens made within 350 years are known to possess 
this characteristic. 

The celedons were given the green shading by the Chinese in 
order to imitate their much prized jade stone. The famous old 
crackles whose antiquity dates back to the 10th and 12th centuries, 
are celedons. They reached their highest perfection during the 
Kang-he period (1661 to 1722). 

Celedons appear in almost any shades, as witness the sang de 
boeuf, the peach bloom, apple green, yellow, etc. They are much 
prized by collectors of ancient Chinese ceramics, and good speci- 
mens command large prices. 

The manufacture of the finest grades of porcelains is a lost art. 
It reached a high perfection during the reign of Ching-hwa (1465- 
1487). It declined thereafter for a century, then revived during the 
later reigns of the Ming dynasty. It was during the long reign of 
Kang-he (1661-1722), China’s greatest and most progressive Em- 
peror, that the manufacture of porcelains reached its greatest de- 
velopment. It is also of interest to note that during the reign of 
his son, Yung-Ching (1723-1736), short as it was, were made some 
of the finest specimens to be found in any collection, both in coloring 
and artistic design as well as in execution. 


10 


As the formulas for mixing the glazes and gauging the firing 
were trade secrets, sacredly guarded within the clan, it is easy to 
understand how insurrections and upheavals in China could have 
wiped out those who possessed this knowledge. The much-prized 
blue and white made during the latter part of the Ming dynasty 
and especially in the Kang-he period of the last or Ching dynasty, 
as well as the polychromes, are without rivals from any period an- 
cient or modern. The Japanese, usually so clever in imitation, 
have spent fortunes during the past fifty years endeavoring to re- 
produce the deep rich colored glazes of these fine old celedons and 
polychromes, or even of the plain blue and white. European manu- 
facturers have gone even farther in their efforts to imitate these 
products of a former century. 


Speaking of the relative merit of ancient and modern porce- 
lains, Mr. Burton, the noted English specialist and authority on 
both Oriental and European ceramics, says: “It is not too much 
to say that in the development of colored glazes as applied to por- 
celains, the Chinese have left all other potters of the world far 
behind, and their masterpieces remained unrivaled in spite of the 
efforts of the most scientific European potters of our own time. 
Again, speaking of their beauty, he says: 


‘We may single out the glazed works of the ancient Egyptians, 
or the Assyrians, the painted terra cotta-vases of the Greeks, the 
brilliantly enameled faience of the Persians, or the majolica of the 
Italians, as worthy of our high regard, yet Chinese porcelain sur- 
passes all these as much in sheer beauty of color as in technical 
skill and in the wide range of its accomplishment.”’ 


With each decade these ancient specimens of the ceramic art 
become more rare. China has been ransacked from end to end, and 
wherever samples could be found the possessor has been tempted 
until he parted with his treasure. It is said that prior to the Tai- 
Ping rebellion which ended about sixty years ago it was difficult to 
secure any number of specimens of ancient porcelains. During that 
rebellion, hundreds of villages and cities were razed to the ground 
and between twenty million and thirty million people perished. 
It is little wonder that works of art perished with the inhabitants 
within the radius of that cyclone of destruction. Its path lay 
through King-te-chen, the center of the porcelain industry. 


The remaining specimens were many of them collected in the 
great commercial centers of the Empire. The Boxer Upheaval of 
1900 was the beginning of the last raid upon the limited supply 
of the ancient ceramics. Today it is practically impossible to locate 
even small collections that can be bought. Those wishing to ac- 
quire choice old Chinese porcelains today find it necessary to locate 
collections already in private hands in Europe, or America, rather 
than seek them in the Flowery Kingdom which gave them birth. 
Even as long ago as 1898 Dr. Bushell, one of the best authorities on 
Chinese ceramics, then in China, advised a collector who wanted 


11 


representative specimens to seek them among dealers, or holders 
in Europe or America, as it would be both easier and cheaper. 


As an indication of values placed upon really fine old porcelains, 
the sale of the Morgan Collection in 1915 might be cited. For 
years this collection, which was a loan exhibit at the Metropolitan 
Museum in New York, was regarded as the largest and finest in the 
world. There were 1600 pieces. The collection was offered at 
auction sale as individual pieces, or in small groups. When the 
sale closed the estate realized over $3,000,000.00 or an average of 
about $2,000 for each piece, large and small, and the world lost the 
inspiration which so long had been afforded by this assemblage of 
these fine examples of a lost art. 


Fortunate, then, is the household which lists among its art 
treasures a specimen of ancient Chinese porcelain. Should this 
treasure consist of a sample of the old Ming, or Kang-he, products 
with the beautiful blue penciling under the clear deep glaze, peculiar 
to that period, or a sang de boeuf whose sparkling ruby glaze par- 
takes more of the nature of a precious stone than of a specimen of 
the ceramic art, or if it be of the delicately tinted polychromes, or 
even of a still more ancient celedon with its precious jade stone 
tints and its wonderful crackle glaze, then indeed will the fortunate 
possessor be pardoned should he list them among his most cherished 
possessions. 


ePeootmIGATION OF CHINESE PORCELAIN 


Probably the most scientific classification of Chinese porcelains 
would be to follow chronological groups, with subdivisions based 
upon the character of the fabrics, the decorations, technique and the 
localities whence they came. Owing to the uncertainty attending 
many specimens which seem to be on the borderland between differ- 
ent periods, some connoisseurs prefer to give more attention to 
artistic distinctions, even to the sacrifice of historical sequences. 


Cosmo Monkhouse, in his exhaustive History and Description 
of Chinese Porcelain, makes four classifications, as follows: 


Period I, of which no specimens exist, extending from the 
disputed date when porcelain was discovered to the Sung Dynasty, 
which commenced A. D. 960. 


Period II, from the commencement of the Sung Dynasty to 
the commencement of the Ming Dynasty (960-1367), when there 
was no over-the-glaze painted decoration, and all color was con- 
tained in the glaze. 

Period III, the Ming Dynasty (1368-16043), during the early 
reigns of which decoration was mainly confined to painting under - 
the glaze, or to colored glazes. Over-glaze enamels and painting 
were introduced near the end of this dynasty. 


Period IV, from the close of the Ming Dynasty to the present 
time, when decorations of every kind with over-glaze enamels were 
brought near to perfection (1644-1901). 


Dr. S. W. Bushell, C. M. G., who ranks second to none as 
authority on Chinese porcelain, follows practically the same his- 
torical division as does Monkhouse, with the important exception 
that he divides Period IV into three distinct periods. Frrom the 
end of the Ming Dynasty to the close of the reign of the second 
Emperor Kang-he (1643-1722), he names the Kang-he Period. 
The next he calls the Yung-Ching and Keen-lung Period (1723- 
1795), the two reigns being conjoined. The remainder of that 
Dynasty, beginning with the reign of Chia-ching (1796) to the 
present day, is called the Modern Period. 

This subdivision of the last Dynasty is most important. It 
was during the long reign of Kang-he (1661-1722) that the manufac- 
ture of porcelain attained its greatest development and its highest 
artistic attainment. The over-glaze enamels with their five-color 
decorations belong to this period. The Kang-he blue and white 
color under the glaze remain unsurpassed. The ruby red, apple 
green, peach blow and other monochromes of the Celedons were 
either originated, or took on added elements of artistic attainments 
under the fostering care of this, the greatest of Chinese rulers. 
It is fitting that his name be given to a distinct period of the develop- 
ment of porcelains. 

The next subdivision given by Dr. Bushell as the Yung-Ching 
and Keen-lung Period is justified because of a certain refinement in 


iS 


technique, especially in the famille rose group, also the production 
of beautiful plates and cups in five-color decorations. The decline 
of the art becomes apparent before the close of Keen-lung’s reign 
(1795); hence the period is properly brought to an end with his 
reign. 

The Modern Period dates from 1795. During certain reigns 
of these 125 years many creditable productions came from the 
royal kilns of King-te-chen. This was especially true of the reign 
of Taou-kwang (1821-1851), but the Taiping rebellion about that 
time, in its spread northward from Canton, swept through King- 
te-chen, burned the city and destroyed the factories. 


During the reign of the last Emperor which ended with the 
overthrow of the empire and the establishment of the republic, in 
1911, great progress was made in restoring the factories and recover- 
ing the secrets of the art. With a generation or two of peace it is 
possible that even the reproduction of the master productions of 
the Kang-he period may be accomplished by Chinese artisans, al- 
though they have baffled the skill of Europe's greatest potters. 


During the early centuries of the manufacture of porcelains 
the development of the art was often arrested by the failure or ex- 
haustion of either the clay, or the colors. During the reign of 
Seuen-Tih (1426-1436), Chinese authorities inform us, an epoch of 
development was inaugurated which received the highest praise. 
It was under this Emperor that the beautiful dark blue was first 
made. ‘This was also the period when the decorations in polychrome 
first attained artistic success. This development continued during 
the Ching-hwa period (1465-1487). Owing to failure of the supply, 
the blue color deteriorated and attention was turned to the poly- 
chrome decoration, which was brought to a high degree of excellence. 


It was during this period that the distinguished ceramic artist 
Kao-than-jin lived. Chinese writers speak in the highest terms 
of his productions, especially of his jars decorated with peonies and 
chickens. Another artist named Ko-tchou made fine wine cups and 
vases. Their productions were models for two hundred years and 
even in the period of Kang-he cargoes of decorated porcelain were 
turned out bearing the nien hao, or mark of the period made, as of 
Ching-hwa. That was dating them back 200 years. There are 
probably more false Ching-hwa marks than of all others combined. 
However, the imitations are often superior in every way to the ones 
imitated. 

The “three color’ and ‘‘five color’’ pieces were first introduced 
during the Lung-king period (1567-1573) and the Wan-leih period 
(1573-1620). The brilliant green, afterwards known as the famille 
vert, was also first perfected during these reigns. Polychromes had 
been used prior to this, but the colors were crude. 


In this period of great advancement of the art, Ngeou-hong 
was the most distinguished artist. He gave his name to the por- 
celains made by him. He reproduced the fine Sung porcelains. 


14 


His copies included the clair de lune and the violets of Sung’s. The 
most esteemed were veined porcelains in red and blue enamels. 
The names of many other potters of merit during this period are 
also preserved in the records. 


During the latter years of the Ming Dynasty the country was 
so disturbed by the frequent Tartar wars that again the industry 
lagged and the quality deteriorated. The dynasty was over- 
thrown in 1643. It was succeeded by the Tsing, or last dynasty, 
which in turn was succeeded by the present Republic in 1911. 


The second Emperor of the Tsing Dynasty, was Kang-he, who 
reigned sixty-one years (1661-1722). He was the most progressive 
and enlightened ruler in China's long and checkered history. Art 
and literature especially thrived under his fostering care. He re- 
built the King-te-chen porcelain factories, arranged through Jesuit 
missionaries for a supply of Cobalt from Europe, making the won- 
derful blue and white of this reign possible. He secured the best 
artists in the empire to do the decorating and ere the close of his 
long reign the industry surpassed all former achievements. 


Because of errors of the early historians who translated the 
voluminous Chinese documents on porcelains extending back to the 
beginning of the art, the excellent products of the closing years of 
Kang-he’s reign were attributed to the Ming period. Whatever 
was best was assigned to the Mings. There is a rugged strength 
and beauty found in the best of the old Ming productions that have 
a fascination of their own, but in point of technique, in the delicacy 
_ of tracery, the beauty of form, and in the purity of the white as well 
as the brilliancy of the colors, the productions of the reign of Kang- 
he surpass those of the Mings. Kang-he blue and white are unsur- 
passed by any period. The same is true of the ruby reds, the depth 
and purity of which make it hard to doubt the correctness of the 
legend handed down by Chinese writers that rubies and garnets were 
pulverized and worked into the glaze to get the result. On the 
other hand, the polychromes of the succeeding reign, that of Yung- 
Ching (1723-1736), in turn showed even greater artistic merit. The 
colors are richer, the designs and drawings are more varied and at- 
tractive and the paintings more artistically traced. Yung-Ching 
artists also surpassed the former reign in the “all blue’ pieces and 
of the light pink upon an underground of pale sea green called 
“peach bloom.” 


At the end of the nineteenth century it was found that in all 
the European collections where there has been any systematic at- 
tempt at classification, the most important of the decorated porce- 
lains and the best of the monochromes were ascribed to the dynasty 
of the Mings—that is to say they must have been made in or prior 
to the reign of Won-li, the Ming Emperor, with whom the industry 
perished in the Tartar invasion. All the fine blue and white pieces 
were parceled out as far back as the Emperor Yung-lo (1403-1424) 
with a distinct partiality for Emperor Ching-hua (1465-1487). The 


15 


fine ruby reds, and the sang de boeufs were all called Ming pieces 
and by a curious fatuity were called Lang-Yao; a family of potters 
named Lang being created for them. These pieces were really 
Kang-he porcelains and were Lang’s in good faith, having been 
produced at King-te-chen under the prefecture of the great Lang 
who had charge of the imperial factories and gave so wonderful 
an impetus to the art under the protection of the peaceful Tartar 
monarch. The black pieces, the so-called hawthorns with varied 
decorations supported on black ground, were all relegated to the 
dynasty of the Mings and it is only at the beginning of the twentieth 
century that these errors were dispelled. They too were many of 
them Kang-he’s. 


The credit for raising the standard of the ceramic art to its 
loftiest flights belongs to Nien Hsi-yao, who in 1727 took charge 
of the Emperor Yung-Ching’s Imperial factories at King-te-chen. 
He was succeeded fifteen years later by his assistant, Tang Ying 
under Keen-lung when for many years the high standards of artistic 
productions were maintained. 


Thus it is that while old Ming porcelains maintain a reputation 
of their own, based upon the boldness and vigor of the designs and 
the originality of accomplishments, we must turn to the Kang-he 
period for the last word in blue and white, the ruby red, the celedons, 
or to the following reign of Yung-Ching for the perfection in colors, 
artistic painting and designs. These are the periods which have 
produced the pieces which command the highest prices. Small 
ginger jars of blue and white with Prunus decoration sell for one 
thousand to fifteen thousand dollars each, according to the purity 
and brilliancy of the colors. Yung-Ching ° ‘peach bloom” vases 
have sold for ten thousand to twenty thousand dollars each. The 
ruby reds of Kang-he are in the same class. Polychromes, or five- 
colored pieces of these periods, sell for as high as ten thousand dollars 
each. The pieces of such rare merit are limited. The sources of 
supply have practically been exhausted. Future commerce in these 
commodities will be confined largely to a change in ownership of 
existing known pieces. 


HOW TO IDENTIFY OLD CHINESE =PORCER AT = 


There is no short road to a knowledge which will enable one 
definitely to name the period to which a given specimen of Chinese 
porcelain belongs. Nor is it always easy to definitely locate a piece 
however expert one may become. 

There are a few characteristics which a lover of old ceramics 
fixes in his mind, not easily definable, and which like an unerring 
instinct leads the homing pigeon to return to its cote. This knowl- 
edge can only be acquired by training the eye, by having access 
to samples and being able to compare them. The literature on 
ceramics only serves as an aid. Alone it will accomplish little. 


16 


There is a family likeness which envelops the productions of 
each distinct period. For instance, the rugged celedons made in the 
Sung Dynasty (A. D. 960-1279) are entirely distinct from all others. 
The color usually used was green, and was made to imitate green 
jade. ‘The pieces were heavy, hence not easily destroyed. This ac- 
counts for the fact that many of them have been preserved through- 
out the centuries. In this collection are several specimens which 
belong to this period. One is a large dish, sixteen inches in diameter 
and three and one-half inches high (See Plate I, No. 1). The glaze is 
of a light green shade, crude and free from crackle. There is en- 
graved in the paste, under the glaze, an indistinct mark showing it 
was made about the middle of the Sung Dynasty (A. D. 960-1276), 
or about 1150 A. D. The next in point of antiquity is the oviform 
green crackle vase (Plate II, No. 2), which was made during the 
later part of this dynasty. The remaining pieces belonging to this 
dynasty and the Yuan dynasty (1280-1367) are Nos. 5, 6 and 7 in 
Plate III; No. 8, Plate IV; and No. 18, Plate V. Without regard 
to age, No. 8 is the most interesting and of greatest value. It is an 
incense burner of brown celedon, with an exceedingly fine crackle. 
In the brown glaze when the sun's rays strike it are reflected the - 
colors of the rainbow. These colors change as one moves about the 
piece. They respond as readily as do the colors of a piece of ‘shot 
silk.” Early Chinese writers attribute these rare productions to 
the latter part of the thirteenth and fourteenth centuries. They 
were first made at Ting Chou, A. D. 1111-1125. The unglazed 
portion on the bottom of specimen No. 8 reveals a white paste which 
in the firing turned reddish brown, where not covered with glaze. 
No productions of the kilns in the last three hundred years possess 
this characteristic. Nor is it known what caused these unglazed 
parts of the white paste to turn reddish brown, when none of them 
did do so later. This, then, is a negative proof of age that often 
enables one to exclude from ancient productions those modern pieces 
which are erroneously classified, or wilfully misrepresented. In all 
old Sung porcelains the paste is white within and brown after firing. 


One must study the nien hao, or mark, if there is one on the 
piece, to determine its age. The nien hao is the name of the reign- 
ing emperor and usually appears in either six or four characters. 
The first two characters signify the dynasty; the next two the 
nien hao, or emperor, and the last two mean “‘period made.’ Here 
is a six character mark of the Emperor Hsuan-te (1422-1435). Be- 


ginning at the right and reading down it reads: Ae & 
S 


Ta Ming, Hsuan-te nien chin (Great Ming, 


Hsuan-te, period made). The seal marks SF BF 
found on porcelains are another form of writ- ae 
e 


ing the same characters. ) 


17, 


One must always bear in mind that Chinese, who have great 
reverence for the achievements of those dead and gone, strive to 
reproduce the works of ancients; hence late Ming potters placed 
the nien hao of former emperors, especially of Ching-hua (1465-1487), 
on many of their productions to indicate that they were striving to 
reproduce the ancient ware when, as is now apparent, their own 
production often excelled in the quality of the glaze, in colors as 
well as in artistic accomplishments. Modern porcelains are often 
given the nien hao marks of Ming or Kang-he, with intention of 
creating a market among those who are seeking ancient Chinese 
porcelains. 

Many of the finest pieces, both in blue and white and in poly- 
chromes, bear no mark at all. Yet to the collector who has learned 
his lesson these unmarked pieces are as unerringly classified as are 
those bearing the nien hao, or marks. A large division of por-. 
celains, the Celedons, are seldom marked. This is true even of the 
famed ruby reds, apple greens and peach bloom which bring as 
much as $10,000 to $30,000 each. 


During the Kang-he reign (1661-1722), the superintendent of 
the King-te-chen Imperial factories issued an order forbidding 
the use of the Emperor's name in the nien hao, lest the vase be 
broken and people might trample upon the pieces, causing a dis- 
respect to the Emperor. This was in the year 1677. The order 
was in force until about 1690. During that period many of the 
fine pieces of that reign were made. ‘The marks substituted were 
varied. The principal ones were a leaf, a fish, or two fishes joined 
by fillets, the Chinese character for jade, two blue rings, lotus blos- 
som, the sacred fungus, a Chinese cash and many others. 


It was during the Ming Dynasty (1368-1643) that the practice 
of placing on the bottom of the polychrome porcelains the nien hao, 
or the name of the reigning emperor, became general. It was never 
the practice to place any mark on monochromes. During the Ming 
Dynasty, when blue decoration was employed, the color or painting 
was always put on the bisquit ware before the glaze was applied. 
This practice continued through the Kang-he period. 


With this knowledge, one seeking to identify a given piece of 
Chinese porcelain by a process of elimination may, for instance, 
readily exclude a celedon from the Sung period, because of the 
color of the unglazed parts, or the presence of some color not then 
used, or because of the artistic perfection in form or execution, or 
because the color is over the glaze. The same tests may also move 
the piece down to the very close of the Ming Dynasty. If the piece 
is a polychrome, then other elements enter into the matter of identi- 
fication. ‘The over-glaze decoration was developed during the Ming 
period, especially after the native blue became scarce and the supply 
of kaolin, or clay, deteriorated. These colors concealed the defects 
of the coarse finish. If the blue appears over the glaze, we know at 
least it is not a Ming piece. 


18 


The sang de boeuf, or ox blood, pieces of the Ming and Kang-he 
periods have no bluish tinting at the top, or mouth, where the 
colored glaze ran down as it liquefied in the firing. It is red to the 
rim (which is white) while Keen-lung pieces (1736-1795) and modern 
pieces have a purple or bluish tinting near the top, or on the flaring 
rim. The glaze is not so clear or deep. These pieces are neither 
old nor so valuable. On Ming and Kang-he pieces, the color at 
the top often fades into a pale light yellowish color. The very 
edge of the rim is white. It was not until the early Kang-he period 
(1661-1722) that the ruby reds were developed. These show a 
perfectly clear solid ruby surface, deep brilliant and free from the 
clots which show in the Ming sang de boeuf. So it is not the oldest 
of these productions that are the most valuable, or beautiful. 


The finest of the green, or famille vert, were produced during 
the late Ming and Kang-he period, although the color was used in 
the early Ming period. The five-colored pieces of the Kang-he 
productions are remarkable for their beauty of design, as well as 
the artistic skill and brilliancy of the colors. It was during this 
period that the blue and white, with color under the glaze, reached _ 
its highest perfection. The white of the Ming period is not so 
clear, or speckless, and the blue lacks the delicate sky blue charm. 
With the close of this reign begins the decline of the blue and white, 
the like of which we shall never see again. 


Perfection in shape, purity of glaze, artistic execution, do not 
belong to the productions of the Ming period. They belong rather 
to the Kang-he and Yung-Ching. The “old Mings” have rugged 
charm that appeals to the lover of ceramics which nothing can sup- 
plant, but many collectors have reluctantly been compelled to admit 
that the choicest pieces of their collection, considering form, glaze 
and technique, were not ‘old Mings,’ as they supposed, but be- 
longed to the following dynasty and to the Kang-he period. The 
apple greens of the Kang-he period have the same markings as the 
sang de boeuf. 


As the famille vert reached its highest development during the 
Kang-he period, the famille rose distinguished the succeeding reign 
of. Yung-Ching (1723-1736). The following reign, that of Keen- 
lung, is often classed with the Yung-Ching because of the beautiful 
productions then turned out by the Imperial kilns of King-te-chen. 
The reign was long (1736-1795) and it was only during the early 
years of the reign that products of the factories can be classed with 
those of his predecessors. With Yung-Ching we pass the highest 
peak of accomplishment reached in polychrome, just as with Kang-he 
the blue and white, also the monochromes, reached their greatest 
perfection. It was during the Yung-Ching reign that the famille 
rose tints appeared and became popular. ‘The refinement of the 
art, the greater perfection of the technique, as well as the grace and 
charm of the artistic lines governing the productions of the Imperial 
factories, bear testimony to the great progress made in the art 


19 


during the long reigns of the illustrious Kang-he and his son, Yung- 
Ching. 

The next revival of the porcelain industry occurred in the Tao 
Kuang reign (1821-1850). This revival was largely confined to 
the enamel ware, or colors over the glaze. The fine blue and white, 
the ruby and apple green of Kang-he are wanting, although many 
of the productions bear marks of that period and are frequently 
imposed upon the unskilled collectors. As the Tartar invasion 
crippled the industry in the last reign of the Mings, so the Tai 
Ping insurrection wiped out the King-te-chen factories at the close 
of the Tao Kuang reign. However, it is encouraging to add that 
during the last quarter of a century great advancement has been 
made in redeeming the industry. The Imperial factories at King- 
te-chen during the reign of China's last Emperor, Kwang-Shiu, 
went far in their recovery of enamel decoration. Yellow was the 
Imperial color and predominates in the polychrome productions. 
In this collection will be found several examples of great merit. 
This is exemplified in this collection by the rice bowls with five- 
clawed dragons, also a set of ten tea cups with dragons in colors on 
a yellow background. These pieces were taken from the palace 
in Pekin during the Boxer uprising. (See Plate No. LIX.) 


VICEROY TIEN S*2EGA 


It may be interesting to relate an incident connected with my 
search for ancient porcelains in China. It will indicate why, as is 
frequently claimed, it is more difficult to secure really worth-while 
pieces in China than it is in Europe or America. Here is the story: 


When the Tartars conquered China in A. D. 1643 they did not 
take possession of Canton and the two Quong provinces for many 
years, because of the powerful opposition of the unyielding natives. 
Hence, a Viceroy for four or five southern provinces was established 
at Chin-Chiu, in Foh-kien province, from whence the work of pacifi- 
cation was carried on. One of the earliest Viceroys, whose sur- 
name was Tien, was appointed by the second of Manchu Emperors, 
Kang-he, China's greatest emperor. Viceroy Tien succeeded in 
bringing the southern provinces under subjection and was highly 
honored by his emperor. Among the presents sent him were many 
imperial pieces of the fine porcelains then being produced at the 
Imperial kilns at King-te-chen, only a few days’ journey north of 
Chin-Chiu. Kang-he reigned for sixty years. He was a patron of 
the fine arts, especially the ceramic art. So the porcelains given 
Viceroy Tien were produced during the period of their greatest 
development. This Viceroy died in the service and his family re- 
mained in his adopted country. To this day the descendants of 
that powerful Viceroy reside in that city, although in the two hun- 
dred and fifty years that have passed misfortune has overtaken the 
proud family. In 1898, when I first met the elder member of the 
family, he had lost practically all except the old homestead and his 
proud, uncompromising dignity. 


20 


Knowing the family needs, an effort was made, through an 
official, a mutual friend, to have a price named for some fifty beau- 
tiful specimens which had been presented to his ancestors by the 
great Kang-he more than two hundred years ago. He refused to sell, 
saying that great as was his humiliation at being in need of funds, 
that burden was light compared with the burden of disgrace which 
would oppress him if he parted with the precious legacy from his 
illustrious ancestor, which were gifts from the Emperor. 


My friend advised me to await a more opportune time. Other 
efforts failed. Later, my Chinese friend came to me saying he had 
secured the rare Imperial porcelains for me; that he had induced 
the family to form an alliance with a wealthy merchant of Chin- 
Chiu by marrying the’son to the daughter of this merchant and that 
I was to provide the present for the bride's father. When a daughter 
is taken as a bride, the parents of the groom must make a gift, or 
present, to the bride's father. ‘These gifts vary according to the 
wealth and dignity of the families. This ceremony is sometimes 
erroneously called selling the daughters to become wives. It has 
no such significance. I was advised that the amount of the largess 
was settled and that I was to secretly get the funds to the old aris- 
tocrat, so as to ‘save his face, as the Chinese express it. In due 
time the collection was removed at night and carried away by ser- 
vants from a distant town; the settlement was made; and it is to 
be hoped that the wedding resulted in as much happiness as those 
art pieces imparted to their new owner. 


In this manner were secured many of the beautiful specimens 
in this collection. Among them are vases with the five-clawed 
dragon, which were only made for the emperor. There is a set of 
blue and white egg shell bowls with the Empress’ crest, the fing 
huang, or phoenix, which are of the purest white and a brilliant blue 
of that kind which the Chinese describe as ‘‘like the blue sky as it 
appears between the clouds after the rain.’ There are mazarine 
and powdered blue with mandarin decoration; plain turquoise blue 
and polychromes; and sky blue with five-clawed dragons in gold. 


MARKS AND SEALS 


Authorities agree there is so little known with regard to the 
whole system of marking Chinese porcelains, that at present, with 
the exception of date-marks, when apparently reliable, there is little 

or nothing to be learned as to the age or history of the piece from the 
' mark thereon. Dealers and collectors, therefore, pay but little 
attention to marks, taking the pieces on their merits, whether 
marked or unmarked. It never was a custom to mark the mono- 
chromes, but there are some exceptions. Chinese Porcelain marks 
may be divided into three classes, according to W. G. Gulland, 
whose volumes on ‘Chinese Porcelain” are considered among the 
best treatises on the subject. These are date marks in the plain 
and seal characters, Hall and other inscribed marks and Third 
Symbol marks. 


24 


These marks are generally painted in blue, but in the later 
pieces, in red or blue; sometimes the characters are engraved or in 
relief. The mark is found on the base of the piece. 


Instead of centuries, the Chinese measure time by means of 
cycles of sixty years. This system is seldom employed in marking 
porcelain. The second method of denoting time and the one used 
in marking china is by the nien hao, or title, assumed by the various 
emperors on ascending the throne, which must consist of two words, 
or signs. In ancient times the nien hao was changed so as to denote 
any very important event occurring during the reign, but since the 
accession of the Ming Dynasty there is only one instance of such 
change. The marking of porcelain in this way seems to have origi- 
nated through the Emperor Chin-tsung, during his nien hao King- 
te (A. D. 1004-1007), giving orders that all china made for the 
palace should be dated in this way. The year in the reign is seldom 
or never given. The six signs when in the ‘plain character,’ are 
made up thus—the upper one at the reader's right hand ta (great), 
the next below is the name of the dynasty, the third is the first 
sign of nien hao, the second sign of the title being at the top of 
the second column, followed by the word nien (or period) and chi 
(made). 

Often the first two characters giving the name of the Dynasty 
are omitted, when the mark is reduced to four signs arranged in 
two columns; of these the first two are the nien hao, or name of 
Emperor, and the second two the formula, nien chi (period made). 


Unfortunately, these date-marks have been so forged and 
imitated on modern pieces that they cannot alone be accepted as 
proof of age. The most favorite mark seems to have been “Ching- 
hwa’’ (14605-1488), under which immense quantities of china appear 
to have been made and shipped to Europe some two hundred years 
after that date. Why this mark was in such favor with Europeans 
it is difficult to say, since the porcelains of the previous reign as well 
as the productions of the period when the frauds were -perpetrated 
exceeded in merit the earlier productions of Ching-hwa. 


With the seal marks we get on firmer ground. The Keen- 
lung (1736-1795) is sometimes given in the “‘plain characters,”’ 
but most frequently in the seal style, and this system of marking 
is generally considered to have been first used during this reign. 
It is safe to conclude that Kang-he dates, given in seal characters, 
are fraudulent. 


Other marks are used. Some called hall marks indicate the 
origin of the porcelain. One frequently encountered reads Shun- 
tih-tang-chi meaning, “Made at the cultivation of virtue hall.” 
Sir A. W. Franke says, “This mark is on specimens of different 
kinds and very varied quality. The name is derived from the 
classics— The Great Learning. The other marks are in various 
characters and sometimes are commendations of porcelain, stating 
that it is jade, a pearl, elegant, antique, precious, etc, 


ae 


The eight ordinary symbols are also used. The leaf is the 
favorite and it appears on Ming and Kang-he production, especially 
during a decade of the latter's reign (1677-1690), when the use of 
the Emperor's name was forbidden to be placed on porcelain lest 
the pieces be broken and trampled under foot, thus showing dis- 
respect to the Emperor. 

Some of the eight Buddhist symbols were also used. The fa- 
vorites were the fish, the lotus, the knot and the shell. Then follow 
many other marks, such as the swastika, the four-legged vase, 
tripod incense burners, the hare, the bat, the stork, the butterfly, 
CLC) 


Zo 


Plate I 


24 


No. 1 iba 
OLD SUNG DISH 


Of pale green Celedon with scrolls engraved in the paste under 
the glaze. Brown unglazed base. The work is crude and the piece 
is warped in the firing. In the center of dish on the face is an en- 
graved mark of the Dynasty. This authentic Sung specimen is 
valuable because of its age, it dating back to the earliest period 
of known existing Celedons. 


Period—Sung (A. D. 960-1120). 
Diameter 16% inches. 
Height 314 inches. 


Plate II 


26 


No. 2 PEACE Ti 
Siew Ghee N CELEDONS 


Ovoid Celedon Vase with a double series of crackle, one of 
small mesh, the other in large cracks running the length of the 
piece. Very heavy and thick which accounts for it having survived 
usage for a thousand years. Brown unglazed base rim helps to lo- 
cate its period of production. Secured from the collection of a 
Foo-Chou Mandarin and pronounced, by Chinese collectors, to be 
a genuine Sung Dynasty production. 


Period, Sung (960-1279). 
Height, 13 inches. 

Base, 4 inches. 

Top, 3 inches. 


No. 3 


Water Container, for writing brushes. A pale green celedon, 
almost white and sometimes called rice color. Crackle. 


Period, Ming, Ching-hwa (1456-1487). 
No. 4 
Incense Burner. Bright green celedon free from crackle and 


has engraved scrolls under the glaze. On both the rim and base is 
a circle of raised knobs, or beads. Unglazed brown base. 


Period, Sung (960-1279). 


Nose) 


A small dish of Brown Celedon with fluted rim and unglazed 
brown base. 


Diameter 4 inches. 

Period, Sung (960-1279). 
No. 6 

Gray Celedon Plate, with crackle glaze inside and out. The 
base rim is unglazed and of reddish tint. 

Period likely of late Ming—Wan-leih (1573-1620). 

Diameter, 101% inches. 


2) 


Plate III 


28 


No. 7 PLATE III 


PRACKLE CELEDON VASE 


With deep jade green. An example of Sung porcelain, in which 
the paste is white but turns reddish brown when fired on unglazed 
parts. For 350 years this characteristic has not been discovered 
‘in products of any factory. 


No marks. 

Period, Sung (960-1279). 
Height, 11 inches. 

Base, 31% inches. 

Top, 3 inches. 


No. 8 
CELEDON CRACKLE VASE 


With swelling base and flaring mouth; same period and char- 
acteristics as No. 7. 


Period, Sung (960-1279). 
Height, 13 inches. 

Base, 41% inches. 

Top, 51% inches. 


No. 9 
GREEN CELEDON VASE 


With feint crackle under the glaze. Has ears with rings. 
Brown unglazed rim at base. A good specimen of the products 
of the Sung Dynasty (960-1279). 


Height, 101% inches. 
Base, 3 inches. 
Top, 3 inches. 


29 


Plate IV 


30 


SO ee a ee es ee 


No. 10 PEALE LV. 


INCENSE BURNER 


Brown Celedon, with teakwood base and cover, with block of 
coral as knob. 


This is a remarkable production, as well as a most fascinating 
piece. Chinese writers of the thirteenth century frequently men- 
tion these brown porcelains, giving them the highest praise. The 
glaze is very smooth and deep. ‘The surface is covered by a fine 
crackle called fish roe. When placed in the sun's rays, or even 
in a strong shaded light, colors of brilliant purple, red and green 
appear and disappear on the crackled surface, as one changes the 
position of the piece. These shades respond as readily as do those 
of a piece of shot silk. It is said that there is not to exceed a half 
dozen such pieces in existence. First made about A. D. 1111 to 
1125. They do not appear in later periods at all. 

This valuable piece is part of Viceroy Tien’s collection, an ac- 
count of which is given on page 20. 


Period, Sung (960-1279). 
Diameter, 11 inches. 
Height, 5 inches. 


3] 


Plate V 


J2 


No. 11 3 PLATE V 
CELEDON VASE 


Pear shape, with swelling neck. The color is of pale greenish 
white, sometimes described as rice color. The glaze is smooth and 
clear. The crackle is very prominent and adds much to the beauty 
of the piece. 


Period, Ming, Ching-hwa (1456-1487). 
Height, 161% inches. 

Base, 7 inches. 

Bowl, 11 inches. 

Top, 6 inches. 


No. 12 
CELEDON LANTERN VASE 


With cylindrical stand and half neck. This is a perfect example 
of old Sung crackle. The color is a rich jade green, smooth and with- 
out blemish. 


Period, Sung (960-1279). 
Height, 734 inches. 
Base, 234 inches. 

Top, 234 inches. 


No. 13 
ARCHAIC OVIFORM VASE 


Of glazed crackle pottery, with ears and rings in bas relief. 
A most interesting and valuable specimen of the early Sung pro- 
ductions. Owing to its form and the thickness of the ware, it would 
not easily break if upset, hence it has survived the centuries. 


Period, Sung Dynasty (960-1279). 
Height, 16 inches. 

Base, 51% inches. 

Diameter, 111% inches. 

Top, 3 inches. 


33 


Plate 


val 


34 


cr 
codes 


aes koe EE 
: . 
oo 
Seca | 
Reh IR, 


Zi 


20 


19 


18 


17 


16 


ci 


14 


No. 14 to 21 PLATE VI 


ple GeuNL) MING CELEDON CRACKLES 


Nos. 16, 18, 19, and 21 are unquestionably Sung Dynasty pro- 
ductions. They were part of specimens obtained from a collection 
made by a Chinese Mandarin at Foo-Chou during the last century. 


Period, Sung (A. D. 960-1120). 


No. 17 


A Celedon dish 14% inches in diameter is of pale green jade 
color, free from crackle. The decoration consists of engraved scroll 
work and conventionalized foliage in the paste under the glaze. 


Period, Ming—about A. D. 1500. 


No. 14 


pee DONPPLATE: OF BRIGHT JADE GREEN 


The decoration is in blue of the Ming period. The reddish 
brown unglazed foot and other features locate the piece about 
A. D. 1600. 


No. 19 


Small Water Container for writing brushes. Coarse crackle 
with rice colored glaze. Has furrigineous lion head ears and carved 
wood base and cover. 


Mark, Ching-hwa (1456-1487). 
Height, 234 inches. 


No. 20 


Apple green Celedon, with square shoulders and bottle neck. 
Has fish roe crackle. The glaze and coloring are of the best quality. 
One of a pair in this collection. 


Period, Kang-he (1661-1722). 


35 


Plate VII 


No. 22 PLATE VII 


KIEN-TSE IVORY WHITE VASE 


Blanc de Chine porcelain. Made at Te-hau in Fu-kien prov- 
ince, also known as ivory white. In fact, it was made to represent ~ 
ivory and differs widely from other white Chinese porcelain made 
during the Kang-he period. The glaze is of a creamy white tint 
closely resembling ivory. It is covered with a thick rich glaze 
which has a satiny aspect and blends closely with the paste under- 
neath. Good examples of this ware are extremely rare. This 
vase is a perfect example, free from fault or blemish. Chinese 
historians claim that the Fu-kien factories were destroyed at the 
close of the Ming Dynasty in the Tartar invasion. They were 
never reopened. After that, under Kang-he, the Imperial white 
porcelain was made at King-te-chen, but it is a different article. 


Period, Ming, Wan-leih (1573-1620). 
Height, 161% inches. 

Base, 51% inches. 

Top, 6 inches. 


37 


Plate: V tit 


38 


INOS» 23: tor 27 PEA PERV FI 


PU-KIEN KIEN-ISE VASES 


Blanc de Chine, or sometimes called Ivory White. In this 
group are some charming pieces of the old Kien-Ise made at Te- 
hau in Fu-kien province. The rarest and most valuable specimens ~ 
of Ivory white are those made at Te-hau during the reign of the 
Ming Dynasty. Some pieces date back to the thirteenth century, 
but those are heavy and lacking in the velvety finish which char- 
acterize later productions. 

The large vase with lion head handles, 121% inches high, is of 
exquisite ivory finish and in fact it was the intention of the makers 
to imitate ivory. 

The small statuette, over four-hundred years old, a blanc de 
chine, is covered by a clear crackle glaze under which are engraved 
scrolls in the paste. On the breast of the robe of the god is a lion's 
head and a dragon in raised figures. 

The small vase on a carved stand is apparently of the same period 
as the statuette, while the other pieces are of later date. Chinese 
and Japanese connoisseurs place high values on these old Fu-kien 
Ivory whites. 


39 


Plate IX 


28 


40 


No. 28 PLATE IX 
TEMPLE VASE (One of a pair) 


Cylindrical in form, with flaring trumpet mouth. Sang de 
boeuf of the Ming period. The clotted blood appearance of the 
glaze, from which it derives its name, is somewhat reproduced in 
the picture. The color being brilliant and unbroken, it is not 
possible to give an adequate idea of the beauty of these ox bloods, 
or of the ruby red pieces, by photogravure. The glaze on the 
flaring neck sustains its color to the very rim where it stops, and a 
white rim, or edge, appears. There is no tint of purple to be seen 
near the top as is the case with productions of a later period. By 
this means the age is definitely established. 


These large vases were used in the temples for decorative pur- 
poses. Sang de boeuf was invented in the late Ming period, and 
the ruby reds in the reign of Kang-he, by Lang-jao, an Imperial 
artist at King-te-chen. The Chinese call the ruby color Lang-jao. 


No mark. 

Period, Wan-leih (1573-1620). 
Height, 23 inches. 

Base, 8 inches. 

Top, 7 inches. 


41 


Plate X 


No. 27A Fis Aa een 


Pm eUriie aN Che VASE 


Sang de boeuf, or ox-blood. The color clear and deep. The 
red coloring reaches the edge of the rim free from the purple tint, 
which characterizes modern pieces. Shape that of a Persian water 
bottle with flaring mouth. A good example of the early ox-bloods. 
Called by Chinese Lang-jao. 


Period, Early Kang-he (16601-1722). 
Height, 14 inches. 

Base, 51% inches. 

Top, 5 inches. 


No. 28A 
PEAR SHAPED VASE 


Mirror black, with surface covered with Imperial five-clawed 
dragons in gold. These old Kang-he pieces in mirror black are 
very rare and much prized by collectors. ‘The surface glaze is very 
smooth, deep and well preserved. 


No mark. 

Period, Kang-he (1661-1722). 
Height, 11 inches. 

Base, 4 inches. 

Top, 4% inches. 


43 


Plate XI 


No. 29 PAD a 


PEAR-SHAPE BOTTLE-NECK VASE (Ruby Red) 


Celedon, known as the ruby red, called by Chinese Lang-jao, 
in which like all Celedon the color is mixed with the glaze before fir- 
ing. This is one of the pieces which Chinese claim that pulverized 
rubies and other precious stones were mixed with the glaze and de- 
clare that the depths and clearness of the ruby-like glaze is due to this 
fact. The correctness of this theory is not accepted; however, just 
how the wonderful glaze was made has been lost, and the few pieces 
that have survived the three hundred years since they were made 
have a value which would seem to give credence to the fable con- 
necting them with the melting of precious stones to secure the glaze. 

There are but few specimens extant equal to this old ruby 
vase, and probably none superior. There is one other specimen of 
the Ruby Red in this collection. It is smaller in size and when taken 
alone is a gem of great value; but when placed side by side with this 
rarest of the productions a degree of inferiority is apparent. While 
one seems to be real ruby glaze, the other has the appearance of a 
marvelous imitation of ruby. They are the rarest and most valuable 
of lost art porcelain. When broken, Chinese saved the pieces and 
had them mounted as personal ornaments, as we mount precious 
stones. Glazed bottom, but unglazed rim. 


No mark. 

Period, Kang-he (1661-1722). 
Height, 18 inches. 

Base, 6 inches. 

Top, 2% inches. 

Bowl, 101% inches. 


45 


Plate X11 


30 


46 


No. 30 Bie otis! 


PRI PEE’ GOURD =VASE 


An odd shape, as the diminishing sizes of the gourds taper off 
into a slender neck. The decorations deserve special note. ‘The 
entire surface of the piece is covered with pictures of Chinese, each 
character complete and possessing a personality differing from all 
others. [here are one hundred of these characters and the group 
is known as the I Pai Ming, or “one hundred names.” Several 
thousand years ago Chinese were divided into one hundred families 
and each given a distinct name. For many centuries these were the 
only family names. These one hundred portraits represent the 
“IT Pai Ming” of those early times. Each of these elders is repre- 
sented with sword of authority in hand. The portraits are in colors, 
artistically drawn and overlapping each other as they spread over 
the surface from neck to base. Note the distinction, or individuality, 
both in countenance and raiment. It is a splendid artistic accom- 
plishment, wrought in all shades of colors known to the late Ming 
Dynasty. A rare piece. 


No mark. 

Period, Wan-leih (1573-1620). 
Height, 25 inches. 

Base, 7 inches. 

Top, 3 inches. 


47 


Platesx. E11 


ot 


48 


No. 31 PEAT ESAT] 
INVERTED PEAR-SHAPED VASE 


Very slender and a charming piece. The surface is covered 
with purple brown and green trelliswork, with two large white ~ 
leaf-shaped reserves on opposite sides; one filled with a battle scene 
in brilliant enamel, the other with mandarins in official robes. Be- 
tween these large reserves are four small reserves in white, two on 
each side, filled with landscape paintings. On the shoulder diamond 
fretwork in colors and reserves filled with flowers, sweet flags, trellis- 
work and Joo-e heads on the neck. ‘This piece is regarded by con- 
noisseurs as one of the most beautiful examples of Chinese poly- 
chrome porcelains in existence. As to form, it leaves nothing to be 
desired. As to technique, its coloring and drawing are evidently by 
a master artist. If one seeks an example of the choicest of the 
ancient Chinese porcelains he will find it in this simply designed 
piece. It is easily the gem of polychromes. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 18 inches. 

Base, 5 inches. 


Top, 4 inches. 


49 


PlateX1LV 


50 


Nos. 32-33 PEACE XIV. 


mePAIR’ OF LIONS 


One with the brocaded ball (hsiu cheiu), the other with its cub. 
The body of the lions are in pale blue and green. Bangles of pearls 
and jade ornaments are suspended from collars on their necks. The 
top of the head and shoulders are red. The bases upon which the 
lions are mounted are rectangular in shape and beautifully decorated. 
On each side is a white reserve surrounded by delicately traced trellis- 
work in various colors. In the reserves are vases and flowers, each 
side representing one of the four seasons of the year. These speci- 
mens are flawless and of great value. 


Period, Kang-he (1661-1722). 
Height, 181% inches. 
Base, 614x81% inches. 


el 


Plate XV 


No. 34 PLATE XV 
GINGER JAR AND COVER 


Famille Vert. Entire surface covered with black fretwork and 
small Joo-e heads filled with green enamel. On this background are 
large butterflies with the brightest of colors. Around the base is a 
band of conventional flowers with reserves filled with Prunus blos- 
soms, and on the shoulders diaper bands. A strikingly beautiful 
piece. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 13 inches. 

Base, 5 inches. 

Top, 4 inches. 


a0 


Plate XVI 


on 


No. 35 Pdigs IS, 2 QNAl 
BEAKER VASE 


The body of the vase is covered with a pale sea green under the _ 
glaze. [he decoration consists of eight horses drawn in bas-relief, 
in pink and blue colors, also under the glaze. The decoration tells 
the story of Emperor Muh Wang, who lived one thousand years be- 
fore Christ, and who with these horses drove all over his vast empire. 
On their journey he visited Si Wang Mu, a fabulous being of female 
sex, who entertained him at the Lake of Gems on Mount Kw’en Lun. 

Mark: A leaf in two blue rings. 

Period, Kang-he (1661-1722). 

Height, 18 inches. 

Base, 61% inches. 

Top, 8% inches. 


5D 


Plate XVII 


No. 36 PLATE XVII 


CYLINDRICAL VASE. MANDARIN CHINA’ 


Short bottle neck and club shaped. Main body covered with a 
beautiful powdered blue. Two large rectangular reserves in pure 
white; one a harbor and mountain scene, the other a group of man- 
darins attended by banner men. On each of the opposite sides are 
three small white reserves of different designs. Also two white re- 
serves on the neck. In each of these small reserves are different 
scenes of animals, flowers, etc., in various colors. An excellent ex- 
ample of the powdered blue Mandarin decoration. 

Period, Kang-he (1661-1722). 

Height, 181% inches. 

Base, 6 inches. 

Top, 41% inches. 

Mark, two blue rings. 


57 


Plate XVIII 


oF 


58 


No. 37 PLATE XVIII 
PEAR-SHAPED VASE, FAMILLE VERT 


This large vase is one of the most elaborately decorated pieces 
_ in the collection. The main body is covered with landscape scenes 
of mountains, sea, forests and temples, of which green is the prin- 
cipal color. There are bands of scrolls, Joo-e heads, trelliswork, 
diaper pattern, or of solid aubergine. All colors known to the period 
are used. On the upper section of the neck are white reserves in 
which are painted dragons. On the shore of the sea are temples and 
fish traps. The glaze is of first quality and unblemished. 

Hall mark. © 

Period, Kang-he (1661-1722). 

Height, 26 inches. 

Base, 8 inches. 

Top, 7 inches. 


we higte io. 


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No. 38 PUA Py OXEX 
IMPERIAL WATER VASE 


Cylindrical vase, with tiara-fronted top and divided transversely 
by moulded double lines into three sections, the upper one bearing a 
porcelain spout. Said to be used for iced fruit syrups. The entire 
surface is of brilliant green peculiar to the late Ming period. Each 
section has painted over the green background three five-clawed 
_ dragons in five colors. Prunus blossoms in white and red mingle with 
clouds in which the dragons float. An Imperial piece and of most 
exquisite beauty. 3 

No mark. 

Period, Wan-leih (1573-1620). 

Height, 18 inches. 

Diameter, 51% inches. 


61 


Plate XX 


oy 


ee La oO le 


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No. 39 BEATER Xo. 
IMPERIAL VASES 


Imperial vase, with five-clawed dragons painted in blue, purple, 
brown, green and black over a clear white glaze. The dragons spread 
all over the surface of the piece. The five claws distinguish the 
vase as having been made at the Imperial factory and for the use of 
the Emperor in distributing favors. This piece is from the collection 
presented by Emperor Kang-he to Viceroy Tien of Chin-Chieu in 
1670. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 18 inches. 

Base, 5 inches. 

Top, 6 inches. 


No. 40 
IMPERIAL CLUB VASE 


Powdered blue vase with decorations in colors in large white 
reserves. [hese vases are classed as splendid examples of that rare 
product, the powdered blue. The white is of the purest, and the 
blue, which is blown on in the manner of the suffle, covers the main 
body of the pieces. Aside from the two large rectangular reserves it 

has also three small circular reserves on each of opposite sides. The 
‘center one of these, in red, has five-clawed dragons, showing that it 
too, was made for the Emperor, as the penalty for the private use of 
the crest was death. 

Mark, two blue rings. 

Period, Kang-he (1661-1722). 

Height, 18 inches. 

Base, 45 inches. 

Top, 6 inches. 


No. 41 
POWDERED BLUE VASE 


Powdered blue vase, same character as the above. While not 
bearing a crest of the Emperor as the other two of this group, they all 
are from the same collection, the history of which is given on page 20. 
In this vase the motif is taken from a little Chinese love story en- 
titled, “When Dreams Come True.’ The decoration illustrates the 
dream. A lover asleep at his table dreams of the daughter of a 
distant friend and how after many adventures he wins her and brings 
her to his home in a wheelbarrow. The story is illustrated in a series 
of scenes running around the vase. These are charming pieces. 

Mark, two blue rings. 

Period, Kang-he (1661- 1722). 

Height, 18 inches. 

Base, 41% inches. 

Top, 5 inches. 


63 


Plate XXI 


42 


64 


No. 42 BeAr ex 
POWDERED BLUE DISH 


White circular reserve in center, with sides divided into six white 
sections. In each of these pure white reserves are flowers of all sea- 
sons, artistically painted in red, green, blue and gold. 


No mark. 

Period, Kang-he (1661-1722). 
Diameter, 121% inches. 
Depth, 3 inches. 


65 


Plate XXII 


_——s 


43 


66 


No. 43 PLATEEXXII 
OVOID VASE 


Imperial yellow body, covered with fishes in aubergene, blue and 
black; a two-inch band of sea green at base representing waves of the 
sea. Sprayed over the surface are sprigs of Prunus blossoms, paeon- 
ies, asters and chrysanthemums. Joo-e band at rim. 


No mark. 

Period, late Kang-he (1661-1722). 
Height, 17 inches. 

Base, 5 inches. 

Top, 5 inches. 


67 


Pinte nel id 


68 


No. 44 BEAM Bex iii 
~BOTTLE NECK, BULBOUS VASE 


Mazarine blue. The mouth is slightly flaring with a band of 
Joo-e heads at the rim. The decoration consists of one hundred 
medallions in gold, each containing a miniature painting, no two of 
which are alike, and ranging from Chinese good luck characters to 
sundry flowers, animals, insects and sacred emblems. Each picture 
is hand-painted and represents infinite time and patience. ‘The 
piece takes on an added interest because of a label pasted on it show- 
ing that it was presented to Prince Ching of the Emperor's family as 
a birthday present, in which it is called an “Imperial toy.’ It is a 
product of the King-te-chen factories and the finest of modern ware. 
From Peking Imperial palace. 


Mark, Kwang-shiu (1875-1895). 
Height, 16 inches. 


No. 45 
BULBOUS VASE 


Bulbous vase with long bottle neck. Decoration powdered blue 
with two large carp, one on each side, reaching from the neck to the 
base in famille rose colors of the Yung-Ching period. The painting 
is well executed, the glaze fine. 

No mark. 

Period, 1723-1736. 

Height, 16 inches. 


No. 46 
BOPETLE NECK VASE 


Bottle neck vase with cylindrical body and flaring mouth. The 
body is covered with mazarine blue under the glaze. Over this there 
is painted in gold large Imperial five-clawed dragons, four on the 
body and two on the neck. This piece is from the collection pre- 
sented to Viceroy Tien of Chin-Cheu by Emperor Kang-he about 
1670, from whose descendants the collection was obtained. 


No mark. 
Period, Kang-he (1661-1722). 
Height, 17 inches. 


69 


Pilate XX1V 


70 


No. 47 PLATE, XXIV 


STATUETTE OF KWAN-YIN 


‘This statuette of the Buddhist goddess of conjugal felicity, with 
a spotted deer by her side, is a beautiful example of the best of the 
five-colored productions of the Kang-he period. It is indeed seldom 
that a Chinese statue or painting of a woman gives as natural, or 
beautiful, features as is here portrayed. The draping of the costume 
is the work of a master sculptor. The colors are artistically blended. 
Each detail is worked out to the minutest point. The pose is fault- 
less. The deer is one of the emblems of conjugal happiness and often 
appears in connection with portraits of Chinese female characters. 
Owing to the exquisite beauty and unsurpassed technique this piece 
ranks as one of the most valuable of the collection. 


Period, Kang-he (1661-1722). 
Height, 111% inches. 


71 


No. 48 PLATE XXV 


pede NECK VASE 


With flaring mouth. The decoration is in pale blue, clear and 
deep under the glaze. The white is of the purest known. This piece 
was classed as a Ming production by the Chinese Mandarin from 
whose collection it was obtained. The purity of both the white and 
the blue would indicate it was the product of the Kang-he period, 
as known Ming pieces do not equal this in artistic accomplishment. 
The motif is that of an aged man dismounted from his horse greeting 
two maids beneath a tree. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 161% inches. 

Base, 5 inches. 

Bowl, 9 inches. 


BLUE AND WHITE 


The most charming section in this collection of ancient porce- 
lains is that of the Kang-he Blue and White. Representative pieces 
of the collection are illustrated in the following fifteen plates. There 
are more than a hundred pieces of the old blue and white in the col- 
lection, including three Hawthorn Ginger Jars of rare beauty and 
worth. 


73 


Plate XXVI 


ane ee ~~ ae Se 
ies aca 


RENEE AE SNES 


ASS AAO ARLENE EE 


No. 49 PLATE XXVI. 


RECTANGULAR VASE, BLUE AND WHITE 


With main body pure white and decoration in deep dark cobalt 
blue. Each side is divided into two scenes. Each scene is a land- 
scape in which the mountains, streams, bridges and boats are artisti- 
cally drawn, with a perspective more perfect than usually attends 
such old Chinese productions. 


No mark. 

Period, Kang-he (1661-1722). 
Height, 17 inches. 

Base, 4x5 inches. 

Top, 4x5 inches. 


Plate XX VII 


No. 50 | PLATE XXVII— 
BLUE AND WHITE VASE 


Main surface covered with foliage and flowers. On each of four 
sides is a reserve of pure white in which are bamboos and sprigs of 
blossoms. About the base is a panel band. On the shoulder are 
bands of Joo-e heads, trelliswork and of scrolls. Sweet flags sur- 
round the white neck with another band of large Joo-e heads at rim. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 171% inches. 

Base, 7 inches. 

Top, 7 inches. 


vit 


BiateskexveLit 


Nos. 51 and 53 Pea Cex LI 
My eo ARREL STOVES. BLUE AND WHITE 


These pieces were made during the Kang-he period. They were 
used as stoves and chairs combined. A brazier of live coals was 
placed inside the chair from beneath. The top is perforated in the 
same manner as is shown on the side to permit the heat to escape. 
With the long Mandarin gowns extending to the floor the heat from 
the coals was effective. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 19 inches. 

Ends, 121% inches. 


No. 52 
UMBRELLA STAND. BLUE AND WHITE 


This piece is a beautiful example of the best of the old blue and 
white. The decoration consists of many varieties of feathered ani- 
mals on foot and wing, also of shrubs painted in brilliant blue under 
the glaze. The field of the purest white is marked out with bands of 
trellis and fret-work. Because of the perfection of glaze and color 
this piece is often chosen as an example of the best of the Kang-he 
blue and white. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 24 inches. 

Diameter, 9 inches. 


Plate XXIX 


ts 


No. 54 BEATE XX LX 
IMPERIAL BEAKER VASE 


The entire surface is covered with conventional paeonies and 
foliage. [wo fabled phoenixes on the neck of the vase and two on 
the body seem to float among the foliage, as if in the clouds. This 
fabled bird, the fung-kwang, is the Empress crest. Only pieces made 
at the Imperial factory and for the Imperial household carry this 
crest as a decoration, hence such pieces are highly prized and valu- 
able. The porcelain is of purest blue and white, and unblemished 
glaze. 

Period, Kang-he (1661-1722). 

Height, 171% inches. 

Base, 51% inches. 

Top, 8 inches. 


81 


Plate XXX 


82 


Nos. 55-57 | PIES LEO 
BLUE AND WHITE SEMI-EGGSHELL RICE BOWLS 


Three of a set of eight in this collection. They are from the 
Viceroy Tien collection and were gifts from Emperor Kang-he in 
1670, while Tien was Viceroy at Chin Cheu, where his remains were 
buried and his descendants still reside (see page 20). 

There is no finer example of blue and white than these pieces 
afford. The fung-kwang, or phoenix, a fabulous bird with a verte- 
brate tail, is the outstanding figure on each piece. The phoenix 
was the emblem of the Empress. To place this crest on any work 
of art not intended for the Imperial family was punished by death, 
so no question arises as to the authenticity of these pieces. 

Mark: ‘Two fishes joined by fillets within two blue rings. 

Period, Kang-he (1661-1722). 


Nos. 62, 65, 67-69 


Beer. PATTERN. CURS 


This beautiful decoration was made by cutting out the designs 
in the body of the paste, then filling in the apertures with glaze. 
The designs were usually leaves or flowers or stars, made of small 
holes cut in the thin paste, each hole being in form that of a grain of 
rice. When filled with the glaze, the design shows up as translucent, 
giving a charming effect. ‘This interesting ware was produced during 
the Kien Lung period (1736-1795). In the set are two bowls and 
two tea cups with covers. 


Nos. 78-79 
A PAIR’ OF BRUSH HOLDERS 


Blue and white covered with varied scenes running at will 
around the pieces. Mountains, sea, trees, pagodas, junks, sampans 
and arched bridges combine to make up the ensemble. These 
pieces, because of their perfection in all that goes to make the best 
of the old blue and white lost art pieces, are often used as examples 

Mark, four Chinese characters. 

Period, Kang-he (1661-1722). 

Height, 81% inches. 

Diameter, 3 inches. 


83 


Plate XXXI 


96 01 08 “SON 


84 


Nos. 80 to 96 PEATE AA X! 
peer ON OF BLUE AND. WHITE 


On this plate is a group of sixteen small pieces of blue and white. 
The two vases with bird decorations are of the Keen-lung period, 
1736-1795, as is the lower bowl at the left on a stand and the two 
small bowls on either side of the center piece. The saucers in the 
rear with cups in front are beautiful examples of the popular old 
willow patterns as they were produced in the Kang-he period. 
The other pieces are also Kang-he productions (1661-1722). 

The center piece, an incense burner, is especially worth calling 
attention to. The glaze is of the purest white. [he decoration 
consists of Buddhist emblems and of symbols and signs in blue. 

Mark, two blue rings. Period, Kang-he (1661-1722). 


SAM SUI CUPS 


Four of a set of eight small Samsui cups in foreground. These 
are beautiful little examples of the old ware. They bear on their 
base in blue under the glaze the Chinese written character denoting 
jade, by which the artist indicated that he produced an article 
“as valuable as jade.” The decoration represents horses feeding on 
the overhanging branches of weeping willows. 

Period, Kang-he (1661-1722). 

Height, 114 inches. 

Width, 214 inches. 


85 


went 2D HE RR a 


No. 97 PLATE XX X11 
PERSIAN WATER BOTTLE 

With long, slender neck, slightly flaring at top. Blue and white. 
The entire bowl, above a border scroll at the base, is covered by 
small scrolls, woven so closely that the white base is almost obscured. 
Among these scrolls are numerous conventionalized paeonies, and 
chrysanthemums. The neck is covered with sweet flags. About 
the shoulders and the rim are bands of flowers and foliage. The 
decoration is odd and unusual, but artistic and attractive. 

Mark, two blue rings. 

Period, Kang-he (1661-1722). 

Height, 131% inches. Base, 51% inches. Top, 31% inches. 


No. 98 
BLUE AND WHITE GINGER JAR 

Of rare beauty and unsurpassed quality. The pattern is usually 
called hawthorn, or Prunus. The blossoms appear in the flaked 
blue, as reserves of white. There are no branches, or stems. The 
blossoms appear to have fallen upon small pieces of cracked ice. 
These old unblemished pieces are rare and very valuable. 

Period, Kang-he (1661-1722). 

Height, 4 inches. Base, 2 inches. Top, | inch. 


No. 99 
PERSIAN WINE BOTTLE 


Of blue and white. The decoration consists of dragons floating 
among the clouds. 

No mark. 

Period, Keen Lung (1736-1795). 

Height, 111% inches. Base, 44% inches. Top, 2 inches. 


No. 100 
INCENSE BURNER, WITH COVER AND CARVED STAND 


Blue and white. While the form of this piece is not attractive, 
experts have pronounced the glaze and both the white and the blue 
as superior to any piece they ever examined. Unfortunately the 
rim at some time has been nicked, then ground down, which detracts 
from its appearance. 

Height, 31% inches. 

Diameter, 91% inches. 


No. 101 
BEAKER VASE 

Blue and white. The wide flaring trumpet-shaped mouth and 
graceful outlines of the piece, as well as the fine smooth glaze, pure 
white and exquisite blue all combine to make one of the finest 
specimens of Kang-he blue and white, among the scores of fine 
specimens in this collection. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 15 inches. Base, 5 inches. Top, 8 inches. 


87 


Plate XX XIII 


102 


88 


No. 102 PEATE XXXII 


BEAKER® VASE 


With trumpet mouth and powdered blue under the glaze. 
The decoration consists of ascending and descending branches of 
hawthorn in the form of white reserves in the purest of blue. 


No mark. 

Period, Kang-he (1661-1722). 
Height, 18 inches. 

Base, 51% inches. 

Top, 91% inches. 


89 


Plate XXXIV 


103 : 


90 


No. 103 PISA XX LV 


GINGER JAR 


Decoration, clouded flaked blue in which the white reserves 
are glob Prunus blossoms. ‘There are no examples of ancient Chinese 
porcelains more highly prized than these old “hawthorn” blue and 
white ginger jars. [hey have frequently sold for from five thousand 
dollars each to as much as twenty thousand dollars. 

The blue is laid on in flakes to represent cracked ice upon which 
the blossoms of the Prunus were supposed to fall in early spring as 
the ice floated down stream; at least a poetic conception well executed. 

Mark, two blue rings. 

Period, Kang-he (16061-1722). 

Height, 81% inches. 

Body, 9 inches. 


ot 


Plate XX XV 


No. 104 PLATE XXXV 
BEAKER VASE, WITH FLARING TRUMPET MOUTH 

Blue and white. The decoration consists of sprays of foliage 
running at will all over the surface, with here and there a Hibiscus 
flower protruding through the leaves. A small diaper band about 
the shoulder is the only break in the profusion of leaves. 

Period, Kang-he (1661-1722). 

Mark, two blue rings with Chinese private seal. 

Height, 161% inches. 

Base, 6 inches. 

Top, 9 inches. 


Nos. 105-106 
TWO SMALL IMPERIAL VASES 
(Seven Inches High) 

With five-clawed dragons floating in the clouds. The white is 
pure, the blue dragons and clouds are touched with rose colored 
tints. On the bottom are also painted in blue with the same rose - 
tints, two dragons. The pieces are finely executed and the quality 
fe Dest...) -. 

Period, Yung-Ching (1722-1736). 


No. 107 
INVERTED PEAR SHAPED JAR 

Of brilliant flaked blue representing cracked ice, in erick the 
decoration consists of reserves in the purest white. The Prunus, 
or plum blossoms, spread over the entire surface in both ascending 
and descending branches. This decoration is also known as the 
hawthorn pattern. The broken ice flakes are in the finest sky 
blue, and the apparent depth of the glaze and the skill of the artist 
in piling the flakes one against the other carry out the aim of the 
artist to represent cracked ice. 

The form is most attractive. The top is without flange, the 
bowl is large and tapers down to the small base upon which it stands. 

Marks: ‘Two blue rings within which are the four characters 

of the Kang-he period (1661-1722). 
Height, 16 inches. Base, 7 inches. Mouth, 4 inches. 


No. 108 
BEAKER VASE, WITH FLARING TOP 

Blue and white of the late Ming period. The glaze is clear 
and smooth, the white pure and the color of a pale blue, more com- 
mon to that period and in contrast to the rich cobalt colors of the 
Kang-he reign. The motif is that of fishermen, in the lower panel, 
hauling in a seine, one man pulling from the shore, another from a 
boat; next above are reserves of flowers and foliage; on the neck 
nd flaring top is a mandarin in official robes, presenting to his son 
his future bride who is accompanied by her maid. 

Mark, two blue rings with a leaf. 

Period, Ming. Height, 181% inches. Base, 61% inches. 

Top, 834 inches. ‘ 

3 


Plate XXXVI 


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Ros. 109, 110; 111 PICA ae oo Vil 
BLUE AND WHITE VASES (A set of three) 


The main surface is in pure white on which are numerous im- 
mortals, characters, emblems and foliage. Valued for the purity 
of glazes and color. 


Mark, Kang-he (1661-1722). 
Height, 9 inches. 


95 


Plate XX XVII 


96 


No. 112 PLATE XXXVII 
~ FLOWER VASE (Blue and White) 

Flower Vase with long neck slightly flaring toward the mouth 
The body is in the purest white, the decoration in deep cobalt blue. 
At the base is a deep panel band above which the bowl is covered 
with dragon floating in the clouds chasing the pearl of great price. 
There are also reserves containing flowers of the four seasons alter- 
nated with large Joo-e heads. 

On the neck are sweet flags and near the top are four bands of 
trellis and diaper work. This is a most valuable and rare example 
of the blue and white of the best period. 

Mark, Kang-he (1€61-1722). Height, 10 inches. 


No. 113 CYLINDRICAL VASE 
Cylindrical Vase, one of a pair, in blue and white. The decora- 
tion is peonies and foliage running at will all over the surface of the 
piece. Both the white and the blue are of the purest and the glaze 
smooth and perfect. Nomark. Period, Kang-he (1661-1722). 
Height, 1214 inches. Base, 3 inches. Mouth, 4% inches. 


No. 120 PLATE (Blue and White) 

Plate, Blue and White. The entire surface is covered with 
branches of shrubs the leaves of which are arranged in concentric 
circles. 

No mark. Period, Kang-he (1661-1722). Diameter, 14 inches. 


No. 121 GINGER JAR (Hawthorn Pattern) 

Ginger Jar, Hawthorn Pattern. Short unglazed neck. The 
entire surface is covered with flaked blue of unexcelled quality. 
In the blue are reserves of pure white in the form of prunus blos- 
soms without stems. The flakes of blue represent broken ice chips 
piled one against the other on which the blossoms have fallen when 
the ice had floated down stream to warmer climes which is the idea 
the artist sought to convey. 

There are no examples of ancient porcelain more popular or 
more valuable than these Kang-he blue and white ginger jars. 
This small specimen is worthy of its class. 

No mark. 

Period, Kang-he (1661-1722). 

Height, 5 inches. 


No. 122 BOTTLE NECK VASE (Blue and White) 

Bottle Neck Vase, blue and white, with long slender neck. 
One of a pair in this collection. Decoration in bright blue of birds, 
flowers, butterflies and other insects among foliage which covers 
the entire surface. Period, Keen-lung (1736-1795). 


No. 124 BEAKER (Blue and White) 
Beaker, Blue and White. One of a pair. Remarkable for the 
purity and depth of its glaze and the sky blue of the decoration. 
Mark, Kang-he (1661-1722). 
Height, 11 inches. : 
9 


Plate XX XVIII 


98 


Nos. 125-126 RIA EOC Lt 


PAIR OF CYLINDRICAL HOLDERS (Blue and White) 

Main body covered with fret-work in brilliant blue. Two 
white reserves, one on each side, in which are two warriors mounted 
on horses, armed with long lances, in combat. The decoration is 
marked off by narrow bands, flowers and fruits at top and bottom. 

Mark, in four characters—Kang-he (1661-1722). 

Height, 14 inches. 

Diameter, 4 inches. 


INO: 127 
BEAKER (Blue and White) 

The white is of the purest and the blue the deep cobalt of the 
Kang-he period. The decoration on the upper and lower sections 
consists of the Eight Immortals, said to have lived a thousand years 
before Christ and possessed the elixir of immortality. They are 
mounted on animals, some of them mythical, and hold their emblems ~ 
in their hands. One of a pair. 

Mark—Four Characters—Kang-he (1661-1722). 

Height, 10% inches. 

Base, 31% inches. 

Top, 41% inches. 


ios128 
EAS POT 

Tea Pot, with porcelain handle and spout. Blue and white. 
Decoration paeonies, chrysanthemums, rocks and shrubs, also a few 
magpies to give life to the scene. A key pattern band surrounds 
the neck on the outside while on the inside of the flange swastika 
emblems, bees. and peaches, all emblems of happiness, alternate in a 
band artistic and expressive. The white is pure, the blue of the 
best of the Kang-he period. 

Mark: Four Characters. 

Period, Kang-he (1661-1722). 

Height, 5 inches. 

Base, 4 inches. 

Top of flanged rim, 41% inches. 


No. 129 
PEAR SHAPE VASE (Blue and White) 

Pear Shape Vase. Blue and white, with short bottle neck. 
The decoration is spread all over the piece, consisting of scrolls, 
emblems and charms. About the neck is a band of sweet flags. 
The drawings are most artistic, the glaze and coloring brilliant and 
uninjured. 

Mark—Four Characters—Kang-he (1661-1722). 

Height, 11 inches. 

Base, 3% inches. 

Top, 2 inches. 


99 


Plate XXXIX 


A 


130 


100 


No. 130 PLATE XXXIX_ 
BULBOUS GINGER JAR 


Blue and white, the blue being laid on in flakes representing 
broken ice. The white appears in the form of branches of hawthorn, 
or Prunus, spreading over the surface as reserves from the blue. 
A valuable specimen. 


Mark, two blue rings. 
Period, Kang-he (1661-1722). 
Height, 13 inches. 

Base, 7 inches. 

Top, 41% inches. 

Bowl, 101% inches. 


101 


Plates <> 


102 


No. 131 PRATEeXL 


PE enmON VASE, PEAR SHAPED (Flambe) 


The flambe, or splashed celedons are freaks which sometimes 
result in producing pieces of wondrous beauty. They were intended 
to be sang de boeuf, or ruby red colors, but instead came out of the 
furnace with splashes of purple and blue, sometimes in grotesque 
forms. On this vase the colors are divided into four sections run- 
ning from rim to base. On two opposite sides the ox-blood red came 
out with brilliant perfection, while the two opposite quarters are a- 
mixture of purple and blue oddly blended with the edges of the red. 


Period, Yung-Ching (1723-1736). 
Height, 13 inches. 

Base, 4% inches. 

Top, 5 inches. 


Io; 132 


CELEDON BEAKER VASE (Color: sea green) 


The glaze is very smooth and without flaw. The decoration 
consists of engraved scrolls, foliage and flowers running at will all 
over the piece with a band of Joo-e heads on the shoulder. The rim 
is flaring. [he figures seem to stand out as if in bas-relief, but the 
surface of the glaze is smooth. 


No mark. 

Period, Yung-Ching (1723-1795). 
Height, 15 inches. 

Base, 41% inches. 

Top, 51% inches. 


103 


Plate XE] 


104 


No. 134 PEATE OAL] 
PEAR SHAPE VASE 


Mirror, black. One of a pair, with slender neck and thin 
flaring mouth. The glaze is beautifully clear and, as its name indi- 
cates, reflects objects clearly like a mirror. The pieces were pro- 
duced both in the Kang-he and Yung-Ching periods, with equal 
merit. Being unmarked, it is not easy to determine to which reign 
a given piece belongs. 

Period, 1700 to 1730. 

Height, 81% inches. 

Base, 3 inches. 

Top, 314 inches. 


No. 135 
SMALL FLAMBE VASE 


Splashes of blue and purple streaks over brilliant ruby red. 
With ears in light blue tint. Secured in Imperial palace in 1900, 
during Boxer uprising. 

Mark, Keen-lung (1736-1795). 

Height, 9 inches. 

Base, 214 inches. 

Top, 1% inches. 


FLAMBE 


Flambe is a freak. Many of the beautiful flambes were intended 
to be sang de boeufs but in firing, instead of coming out with the 
ox-blood, or ruby red, they are splashed with blue and gray in various 
tints and splotches. So much were some of these prized by the 
Chinese that they experimented by making sudden changes of 
temperature in firing, hoping to obtain the splashes of color in some 
desired fantastic shapes. The best of these flambes were produced 
during the Yung-Ching and Keen-lung periods. However, fairly 
good pieces are produced today, many of which are placed on the 
market as genuine Keen-lung productions. The clear, bright red 
pieces, free from clots, with a bluish tint at the top of the flaring 
rim and extending down the neck are characteristic of modern pro- 
ductions. 


105 


Plate XLII 


No. 136 BeA TE XEIL 


BOgsEP INE GIS VASE 


With long neck, slightly flaring mouth and cylindrical body 
with sloping shoulders. Pigeon blue of the most brilliant, deep 
glaze. This is a charming piece because of the perfection of its 
single color, as well as its graceful form. It is one of the most highly 
prized pieces in the collection and of great value. 


Period, Kang-he (1661-1722). 
Height, 21 inches. 

Base, 51% inches. 

Top, 234 inches. 


107 


Plate XLIII 


SP Re 
IEE 


oe 


Pitas oe 


LESS 


108 


Iasi! 375,138; 139 ial ie SSF] 
eee eve i | WO PEAR SHAPED VASES TO MATCH 


A monochrome decoration of sky blue, or mazarine blue. The 
depth and brilliancy of the glaze and coloring gives this trio an 
attractiveness despite their want of variety in decoration. They 
have been well preserved and are free from blemish. Just as the 
unrivaled ruby red pieces reached their highest perfection in the 
period of Kang-he, so the best of the monochrome blues came in 
the succeeding reign of Yung-Ching (1723-1736), and to this period 
this trio belongs. 

Beaker: Height, 22 inches; Base, 8 inches; Top, 10 inches. 

Vases: Height, 18 inches; Base, 6 inches; Top, 8 inches. 


109 


Plate XUEV 


110 


140 


No. 140-141 PEA esl 


FAMILLE ROSE VASES 


Cylindrical in form. Made during brief reign of Yung-Ching, 
when the most valuable porcelains in existence were produced. The 
decoration is all the soft rose tints which first appeared in this reign. 
The motif is that of a garden scene extending around the body of 
the piece, in which loiter Chinese ladies beautifully costumed and 
gracefully posed. 


The beauty of this exquisite pair is enhanced by five bands 
whose varied width and form, in artistically balanced proportions, 
bear testimony to the superior genius of the artist who painted the 
pieces. Only two vases with similar decorations were ever painted 
by these old master artists. It is only in rare instances that both 
pieces have survived free from blemish, as are these beautiful ex- 
amples of the best period. 

Period, Yung-Ching (1723-1736). 

Height, 23 inches. 

Base, 5 inches. 

Top, 4 inches. 


- 
-. 

© 
& 
— 


No. 142 PEATE @XEV 
Dud leR Ei ye PEALE 


The face of the plate is white, on which are painted numerous 
butterflies of varied sizes and gorgeous colors. On the rim these 
insects are so crowded and overlapped that they form a band of 
brilliant colors. The butterfly is the sign of conjugal felicity. 
In fact, it is sometimes called the Chinese Cupid. The origin of 
this is to be found in the story told by the Taoist philosopher, Chuang- 
tzu, of a young student who, running after a beautiful butterfly, 
unknowingly intruded into the private garden of a retired magis- 
trate, whose daughter he thus saw and was so struck with her charms 
that he determined to work very hard and try to obtain her for his 
wife. In this he was successful and rose to high rank. 


No Mark. 
Period, Yung-Ching (1723-1736). 
Diameter, 101% inches. 


Nos. 143, 144 


FAMILLE ROSE RICE BOWLS 


Each is one of a pair in this collection. The decoration is in 
polychrome in which the rose tints govern. These bowls are beau- 
tiful specimens of a period when the finest five-colored porcelains 
in existence were produced. 


Period, Yung-Ching (1723-1795). 
Diameter, 7 inches. 
Height, 3 inches. 


113 


5 ails 


ae 


Plate XLVI 


114 


146 


Nos. 145, 146 PUATLESXL V1 
BOTTLE NECK VASES WITH FAMILLE ROSE DECORATION 


All over the large swelling bowl and the neck are flowers and 
foliage in green, red, blue, violet and yellow, among which are the 
most brilliant butterflies in gorgeous colors. The butterfly is the 
emblem of happiness. The painting as well as the glaze, by its 
high degree of artistic skill, places this piece as either that of the 
Yung-Ching, or the first decade of the Keen-lung reign, when the 
famille rose reached its nearest perfection. Glazed base. 

No mark. 

Period, Yung-Ching (1723-1736). 

Height, 171% inches. 

Base, 6 inches. 

Top, 3 inches. 


115 


Plate XLVII 


116 


148 


147 


No. 147 PEA TEX VI 
Mey CINDRICAL? VASE 


Short bottle neck with flanged rim. The entire surface is 
covered with soft pale pink of the famille rose type, on which the 
decoration is painted. Branches of hawthorn in black and auber- 
gine spread over the entire surface of the vase, with blossoms in 
pale yellow. On the branches rest magpies. With the early blos- 
soms of the Prunus before the leaves have made their appearance ~ 
and the mating magpies, the scene is intended to represent Spring. 
The vase is remarkable for its delicate tints, its fine penciling and 
artistic execution. 

No mark. 

Period, Yung-Ching (1723-1736). 

Height, 18 inches. 

Base, 4 inches. 

Top, 4% inches. 


No. 148 


Soe ane RETICULATED VASE 


With round neck and flaring mouth. The network of the 
reticulated sides is so designed as to follow the outline of the decora- 
tion, which for each of the four sides shows a different scene. Man- 
darins, horses, tigers, elephants and mythical animals go to make up 
the various pictures. The five colors of the Yung-Ching period, 
together with the pale pink employed as a background all over the 
piece, as well as the excellence of the technique, place this as a 
product of the Yung-Ching period (1723-1735). 


Height, 171% inches. 


117 


XLVITI 


No. 149, 152 PRAT aA Lyi Tt 


RIGE BOWLS 


One each of two pairs of fine, hard, translucent porcelain bowls 
of the best period of the production. The decorations are in three 
colors. One set with two dragons encircling the bowl, the other with 
bamboo and flying insects. 

No mark. 


Period, Yung-Ching or early Keen-lung (1723-1736). 


119 


Plate XLIX 


120 


166 


164 


159 


157 


153 


163 


Nos. 153-172 BIA Ext ix 
PSVARTED GROUP OF SMALL PIECES 


Consisting of vases, dishes, bowls and tea-cups, being repre- 
sentative of many others in the collection. The vases are Kang-he 
pieces (1661-1722). The large dish is Yung-Ching; decoration the 
Phoenix (1723-1736). The bowls and cups Keen-lung (1736-1795). 
The cups are egg-shell porcelains, translucent and frail. 


121 


Plate L 


No. 173 BUA Se 
Poin GriROME” VASE 


Of pure white decorated with Chinese mandarins mounted 
on mythical animals in green, rose, blue, vermilion red and yellow. 
They are followed by attendants bearing banners. The neck is 
circled with swordsmen fencing. 


No mark. 

Period, Keen-lung (1736-1795). 
Height, 14 inches. 

Base, 4 inches. 

ec.) inches, 


123 


Plate Li 


No. 174-175 edkaaed Mate 1 ha | 


POLYCHROME VASES 


A Pair of Polychrome Vases, of the Keen-lung period. In — 
form they are square with increasing size up to the shoulder. The 
neck is also quadrilateral with concave sides. There is a broad 
band of paneled lattice work around the base, one at the shoulder 
and another at the rim. The decorations consist of mandarins in 
elaborate robes with attendants. The portraits are finely drawn 
and the color, which is of the famille rose type, includes green, blue, 
brown, rose and yellow. 

While these pieces are excellent for the period they do not 
equal in artistic execution the products of the Imperial factories 
of the Kang-he and Yung-Ching reigns which preceded Keen-lung. 
Doubtless these pieces were made during the early part of the reign, 
or about A. D. 1740. 

No mark. 

Period, Keen-lung (1736-1795). 

Height, 23 inches. 

Base, 514 inches. 

Top, 614 inches. 


125 


Plate LII 


126 


187 


176 


178 


No. 176 | PLATE LII 


KEEN-LUNG IMPERIAL DISH 


With five-clawed dragon. Imperial yellow covers the face of 
the dish with a key pattern band at the rim in aubergine, pale blue 
and light pink colors. Over the yellow surface is enamel scrollwork, 
flowers and fruits in blue and rose tints. There are five circular 
reserves in white, each with an Imperial five-clawed dragon in gold 
and famille rose, lightly touched with green. The center disk has a 
border of blue on which is laid a band of Joo-e heads in rose tint. 

The outside is in rice-tinted white over which are scrolls and 
flowers in enameled colors. It is a piece of striking beauty and as 
the crest shows was made for the Imperial household. 

Period, Keen-lung (1736-1795). 

Height, 21% inches. 

Diameter, 12 inches. 


No. 178 
IMPERIAL YELLOW DISH (One of a pair) 


With five-clawed green dragon on face, also encircling the outer 
side. The piece was made during the early part of the reign of the 
last Emperor. It does not equal in artistic beauty the Keen-lung 
dish in this picture, but is of good quality. As it was obtained from 
the Imperial palace during the Boxer uprising in 1900 it takes on 
added interest. 

Mark—Kwang-shiu (1875). 

Height, 21% inches. 

Diameter, 11 inches. 


Nos. 179 to 190 


The other pieces in this plate are Keen-lung productions in 
famille rose colors. 


t27 


Plate LITI 


128 


No. 191 PEATE III 


CYLINDRICAL VASE (Polychrome) 


Cylindrical Vase, polychrome, with bottle neck and flanged 
rim. At the base is a broad trellis band in colors. The main body 
of the vase is in white. The scene, or motif, is of a lover presenting 
a pearl to his lady love standing beneath a weeping willow. The 
ladys maid attends near by, while the groom holds his master’s 
horse. On the shoulders of the vase is a band of trellis work in 
which are four small reserves filled with symbols and emblems. 
On the neck are seven different bands of various colors and designs. 

Mark—Leaf in two blue rings. 

Period, Kang-he (1661-1722). 

Height, 18 inches. 

Base, 6 inches. 

Top, 414 inches. 


Nos. 192, 193 


PAIR OF TEA CADDIES 


Fine porcelain decorated in famille rose. Unglazed base. The 
decoration consists of mandarins and attendants, one with the 
official umbrella, painted rose vert colors of the Keen-lung period. 

No mark. 

Period, Keen-lung (1736-1795). 

Height, 5 inches. 

Size, 214x3% inches. 


No. 194 
BOTTLE NECK’ VASE, FAMILLE ROSE 


The neck is long and slender with flaring mouth. The colors 
are deep and rich, the drawings and technique of rare merit. The 
costumes of the persons in the decorations as well as the beautiful 
scroll work and diaper bands are in the rose and green tints which 
have made the productions of the Yung-Ching and early Keen-lung 
periods so popular. 

Mark—Two blue rings. 

Period, Keen-lung (1736-1795). 

Height, 18 inches. 

Base, 5 inches. 

Top, 4% inches. 

129 


Plate LIV 


No. 195 QL OGRe inal 


PEAR SHAPED VASE (With flaring mouth and ears) 


The main body of the vase is of soft unglazed pottery, in light 
yellow tint and grained surface. On each of four sides are large 
medallions of pure white porcelain surrounded by raised border in 
colors. In the medallions are landscapes and Chinese persons— 
in some males, others females. Outside these reserves are con- 
ventionalized and mythical animals, as well as branches and flowers. 

No mark. 

Period, Taou Kwong (1821-1851). 

Height, 16 inches. 

Base, 5 inches. 

Top, 6 inches. 


131 


Plate LV 


No. 196 PLATE LV 
CELEDON VASE 


With brown crackle glaze over which is a blue enamel decora- 
tion, consisting of a tree and fungus plants. The background for 
the tree is gray crackle in which appear splotches of the brown, 
while the rest of the surface is a fine brown crackle. Two storks, 
emblems of conjugal happiness, complete the picture. 


No mark. 

Period, Keen-lung (A. D. 1736-1795). 
Height, 181% inches. 

Base, 51% inches. 

Top, 51% inches. 


133 


Plate LVI 


197 


200 


134 


No. 197 ; PEATE CVI 


GRAY CRACKLE VASE 


One of a pair. With bottle neck and flange rim. Glazed 
pottery on soft paste. Decoration Chinese figures on mythical 
animals done in colors. 

No mark. 

Period—A Ming production, about A. D. 1600. 


No. 200 


GRAY CRACKLE VASE 


One of a pair, with ferruginous bands at the base, on the shoulder 
and on the outer rim of the mouth. On the neck are iron-colored 
ears in the form of lions, while the dragons in raised figures encircle 
the shoulder of the pieces. The decoration on the body represents 
a battle scene in red, green, blue, yellow and aubergine, applied 
as an enamel. Mark Ching-hua (1465-1488), but are doubtless 
an imitation. Made during the Keen-lung period (1735-1795). 
There are many modern imitations of this ware with same marks, in 
the markets of Canton and Shanghai. They are inferior in glaze 
and artistic decoration. On the other hand, they could not be 
imposed on one familiar with ancient ware and recent imitations. 


Height, 14 inches. 
Base, 5 inches. 
Top, 6% inches. 


135 


PiAd ieee vit 


802 
LOZ 


x | 


$55 


tC 


fa; 


136 


Nos. 201-214 PEE V IT 
Beales OF VARIED PERIODS 


In this group of fourteen plates are samples of productions 
of three hundred years. The two central pieces are celedons of an 
early Ming period. The lower one is of special merit. It is very 
heavy and the celedon glaze is of pale green jade color, remarkably 
smooth and clear. The decoration in blue, of mountains and sea, 
with fishermen and their huts is the work of an artist. 


The other pieces are representative of their period and date 
from Kang-he (1661) to Taou-Kwang (1857). 


137 


Nos216-220 PLATE LVIII 
| IMPERIAL BOWLS AND CUPS 


In this plate are shown five tea-cups and one rice bowl, there 
being five more cups and one more bow! in this collection. They 
are all of Imperial yellow, decorated with five-clawed dragons with 
beautiful fretwork and bands together with flowers in profusion 
in delicate tints of pink, blue, red and green. The pieces are mod- 
ern and bear the mark of the last Emperor, Kwang-shiu, and were 
taken from the palace at Peking during the Boxer uprising, in 1900, 
by a European officer from whom they were obtained along with 
other pieces in this collection, which is acknowledged in each instance. 

They were made at the Imperial factories in King-te-chen 
and are the best example of modern Chinese porcelain to be had. 


139 


Plate LIX 


234 


EK Fs 


231 


E 
f 


230 


140 


ANCIENT BRONZES 


The art of casting, moulding and chiseling of bronze by the 
Chinese dates back to the third millenium B. C. During this 
half-mythical period the methods employed were crude, the designs 
fantastic and inscriptions, if any, consisted of Archaic pictorial 
characters. 


To the reign of the great Yu, the founder of the Hsia dynasty, 
are attributed the first bronzes containing records, or inscriptions 
of historical significance. He is recorded as having cast the metal 
sent in as tribute from the nine provinces of his Empire into nine 
tripod caldrons (ting) of bronze. These tripods are said to have 
been carved with maps and figures giving lists of resources of the 
province from whence each came. These were also representations 
of evil spirits, of the sources of storms, of demons, of the woods and 
wild places, so that the people might recognize them and avoid 
them. The nine tripods were long preserved as palladia of the king- 
dom, till they were lost or destroyed in the wars which attended 
the close of the Chou Dynasty. 


The model was preserved in the form of other tripods made 
about the beginning of the Christian era. Eighteen of these large 
tripods representing the eighteen provinces into which China is 
now divided still stand on the sides of the open Court of the principal 
palace at Peking. These tripod vessels, called ting, may be illus- 
trated by numbers 241 and 242, in Plate LXI. These pieces were 
made during the Han dynasty (B. C. 206-A. D. 220). They were 
obtained from a European officer at the close of the Boxer rebellion 
and were said to have been taken from the palace of one of the reign- 
ing princes. 

One of the oldest forms of ancient bronzes is that of a sacri- 
ficial wine vase known as the Ku, with slender body, slightly spread- 
ing foot and flaring trumpet-shaped mouth—(see figure 234, Plate 
LIX). It is moulded with four vertical dentated ridges projecting 
from the sides of the stem and foot, between which appear in re- 
lief the lineaments of the too-t’ieh, ogre, on a ground of fretwork 
representing clouds. The design extends up to the neck, on which 
are four conventional palm leaves. (Period B. C. 1766). 


There is an Archaic inscription Fu-Keng, ‘For my father Keng,”’ 
within a cartouche (ya) supposed by Chinese Archaeologists to figure 
the outlines of a temple. 

This graceful bronze vessel dates back to the Shang Dynasty 
(B. C. 1766-1122), and has been pronounced to be genuine by 
Chinese Archaeologists. It is one of the oldest examples of Chinese 
bronze productions in existence. It is covered with a heavy coat of 
corroded metal which it has taken almost four thousand years to 
produce. The same corroding covers the other ancient pieces, al- 
_ though those made since the beginning of the Christian era bear 
evidence of fewer centuries than does this piece and the brazier 
which dates back eight hundred years before Christ. 

141 


Plate LX 


142 


The large incense burner, No. 232, Plate LIX, is a production 
of the Han Dynasty (A. D. 960-1287). This particular piece is 
inlaid with fine silver wire in the form of scrolls and conventional 
figures. It was not part of the original design. Chinese records 
show that this decoration was often added to old bronzes about 
four hundred years ago by artizans of Foo-Chou where this spec- 
imen was obtained. As a work of art this old censer ranks high. 
The base and cover are of carved wood, being the root of the tea 
tree, which is very hard and durable. The knob is a lump of beau- 
tiful red coral. Height, 12 inches. Bowl, 14 inches in diameter. 

Another piece in the collection is a small temple bell 13 inches 
high and 10 inches across the mouth, in which large splotches of 
gold appear, being mixed with the metal when it was cast. 

Figure No. 237, Plate LX, shows an ancient bronze brazier 
on a carved teak-wood stand, a row of loose rings swinging from 
below the outer rim. On the bottom of the inside of the piece 
are two fishes. This piece dates back to eight hundred years B. C. 
and is highly prized by connoisseurs. 


143 


Plate LXI 


F 
t 


evc 


lve 


144 


CLOISONNE 


The art of casting, chiseling and carving bronzes has been 
somewhat neglected in China during the past six hundred years 
except as exemplified by Cloisonnes. It is a mistake to attribute 
the origin of Cloisonne to either China or Japan, as is often done , 
or the Cloisonne of either country to an early period. Cloisonnes 
were first introduced into China by artizans from Arabia and Con- 
stantinople about the year A. D. 1556. It spread rapidly over 
China and later was introduced into Japan. There are many exam- 
ples of the art to be found dating back to the late Ming period, but 
they are crude and the enamel in the Cloisonnes is pitted although 
they possess great beauty in form. 


During the reign of Yung-Ching (1723-1736) the Cloisonne 
production reached its highest perfection, both in technique and 
artistic accomplishment. Hitherto the base was copper or brass 
and the wiring which marks off the decoration was of the same 
metal. Yung-Ching artists sometimes used copper over which was 
a heavy plate of gold, and gold wiring. Figure No. 244, Plate LXIII, 
is of this period. The body and wiring is of pure gold; the Cloi- 
sonnes are marked off with gold wires and the glaze is of the same 
high degree of perfection which characterized the porcelain pro- 
ductions of this reign. They have never been excelled. 


145 


DATE MARKS 


The nien haos given on the following pages are from Gulland’s 
“Chinese Porcelain” and said to be correctly written. The reader 
will see by looking at the formula at the top where the nien haos 
fit in, and the difference between that in the formula and the same 
date as given beneath will afford some idea of the allowance that 
must be made for variations in writing. 


146 


MARKS. 


Mina Date Marks. 
Hwa, : Great. 
ie K Zt 
Period. so aR Ming: fH 
Made, Bf PL Ohiing. | 


wy, 1% A» x 2 a 
se z 1T~# Bt 
1 


» 
aie 


Hung-woo, 1368-1399. Yung-lo, 1403-1425. Seuen-tih, 1426-1436. 


YR t qi Li 
we ae {B. 


Ching-hwa, 1465-1488.  Hung-che, 1488-1506. Ching-tih, 15061522. 


= ye & 
i mo J. & ig 
ee 
Oi pt 
pf B E] 
Kea-tsing, 1522-1567. Lung-king, 1567—1578. Wan-leih, 1573-1620. 
147 


CHINESE PORCELAIN. 


Tsing Date MARKS. 


Chin. iL k Great. zk 
Period. ash } 3 Tsing. iW 
Made. J 3 Yung. . 


3 J 


Shun-che, 1644-1661. Kang-he, 1661-1722. 


ri ca ME -¢ 8 
rN ye ‘ 
[z [yes Ke 
Keen-lung, 1736-1795. Kea-king, 1796-1821. Taou-kwang, 1821-1851. 
ae =y fl pb # 
Me a5 } | a (er fa 


Jl WA a 


Heen-fung, 1851-1861. Tung-che, 1862-1875. Kwang-shiu, 1875. 


Yung-ching, 1723-1786, 


148 


MARKS. 


Taou, 


ce 
Period, Nien. nae 


Made, Chit. thar Ve 


mee 


Shun-che, 1644-1662. 


Keen-lung, 1736-1795. 


ats = 


Heen-fung, 1851 -1862. 
149 


Kang-he, 1661-1722. 


Kea-king, 1796-1821. 


Tung-che, 1862-1875. 


Ta, Great. 


Tsing, Tsing. 


Yung-ching, 1723-1736, 


Taou-kwang, 1821-1861.. 


rc, 
fies 


Kwang-shiu, 1875. 


ae 


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